The Human Stain Read online

  Contents

  Cover

  About the Author

  Also by Philip Roth

  Title

  Copyright

  Dedication

  1 Everyone Knows

  2 Slipping the Punch

  3 What Do You Do with the Kid Who Can’t Read?

  4 What Maniac Conceived It?

  5 The Purifying Ritual

  THE HUMAN STAIN

  In 1997 Philip Roth won the Pulitzer Prize for American Pastoral. In 1998 he received the National Medal of Arts at the White House, and in 2002 he received the highest award of the American Academy of Arts and Letters, the Gold Medal in Fiction, previously awarded to John Dos Passos, William Faulkner, and Saul Bellow, among others. He has twice won the National Book Award and the National Book Critics Circle Award. He has won the PEN/Faulkner Award three times. In 2005 The Plot Against America received the Society of American Historians’ Prize for ‘the outstanding historical novel on an American theme for 2003–2004’.

  Recently Roth received PEN’s two most prestigious prizes: in 2006 the PEN/Nabokov Award ‘for a body of work … of enduring originality and consummate craftsmanship’ and in 2007 the PEN/Saul Bellow Award for Achievement in American Fiction, given to a writer whose ‘scale of achievement over a sustained career … places him or her in the highest rank of American literature.’

  Roth is the only living American writer to have his work published in a comprehensive, definitive edition by the Library of America. The last of the eight volumes is scheduled for publication in 2013

  ALSO BY PHILIP ROTH

  Zuckerman Books

  The Ghost Writer

  Zuckerman Unbound

  The Anatomy Lesson

  The Prague Orgy

  The Counterlife

  American Pastoral

  I Married a Communist

  Exit Ghost

  Roth Books

  The Facts • Deception

  Patrimony • Operation Shylock

  The Plot Against America

  Kepesh Books

  The Breast

  The Professor of Desire

  The Dying Animal

  Nemeses: Short Novels

  Everyman • Indignation

  The Humbling • Nemesis

  Miscellany

  Reading Myself and Others

  Shop Talk

  Other Books

  Goodbye, Columbus • Letting Go

  When She Was Good • Portnoy’s Complaint • Our Gang

  The Great American Novel • My Life as a Man

  Sabbath’s Theater

  Philip Roth

  THE HUMAN STAIN

  This eBook is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorised distribution or use of this text may be a direct infringement of the author’s and publisher’s rights and those responsible may be liable in law accordingly.

  Version 1.0

  Epub ISBN 9781446400531

  www.randomhouse.co.uk

  Published by Vintage 2005

  6 8 10 9 7 5

  Copyright © Philip Roth 2000

  Philip Roth has asserted his right under the Copyright, Designs and Patents Act 1988 to be identified as the author of this work

  This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser

  First published in Great Britain by Jonathan Cape in 2000

  First published by Vintage in 2001

  Vintage

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  London SW1V 2SA

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  Addresses for companies within The Random House Group Limited can be found at: www.randomhouse.co.uk/offices.htm

  The Random House Group Limited Reg. No. 954009

  The quotation from Oedipus the King is from the David Grene translation (Three Greek Tragedies in Translation, University of Chicago Press, 1942). The dictionary definitions in Chapter 2 are from The Random House Dictionary of the English Language (1973, p. 1375). The author wishes to acknowledge as a primary source Gouldtown, a Very Remarkable Settlement of Ancient Date, by William Steward and Theophilus G Steward (JB Lippincot Co., 1913)

  A CIP catalogue record for this book is available from the British Library

  ISBN 9780099282198

  For R. M.

  OEDIPUS:

  What is the rite

  of purification? How shall it be done?

  CREON:

  By banishing a man, or expiation

  of blood by blood . . .

  —Sophocles, Oedipus the King

  1

  Everyone Knows

  IT WAS in the summer of 1998 that my neighbor Coleman Silk—who, before retiring two years earlier, had been a classics professor at nearby Athena College for some twenty-odd years as well as serving for sixteen more as the dean of faculty—confided to me that, at the age of seventy-one, he was having an affair with a thirty-four-year-old cleaning woman who worked down at the college. Twice a week she also cleaned the rural post office, a small gray clapboard shack that looked as if it might have sheltered an Okie family from the winds of the Dust Bowl back in the 1930s and that, sitting alone and forlorn across from the gas station and the general store, flies its American flag at the junction of the two roads that mark the commercial center of this mountainside town.

  Coleman had first seen the woman mopping the post office floor when he went around late one day, a few minutes before closing time, to get his mail—a thin, tall, angular woman with graying blond hair yanked back into a ponytail and the kind of severely sculpted features customarily associated with the church-ruled, hardworking goodwives who suffered through New England’s harsh beginnings, stern colonial women locked up within the reigning morality and obedient to it. Her name was Faunia Farley, and whatever miseries she endured she kept concealed behind one of those inexpressive bone faces that hide nothing and bespeak an immense loneliness. Faunia lived in a room at a local dairy farm where she helped with the milking in order to pay her rent. She’d had two years of high school education.

  The summer that Coleman took me into his confidence about Faunia Farley and their secret was the summer, fittingly enough, that Bill Clinton’s secret emerged in every last mortifying detail—every last lifelike detail, the livingness, like the mortification, exuded by the pungency of the specific data. We hadn’t had a season like it since somebody stumbled upon the new Miss America nude in an old issue of Penthouse, pictures of her elegantly posed on her knees and on her back that forced the shamed young woman to relinquish her crown and go on to become a huge pop star. Ninety-eight in New England was a summer of exquisite warmth and sunshine, in baseball a summer of mythical battle between a home-run god who was white and a home-run god who was brown, and in America the summer of an enormous piety binge, a purity binge, when terrorism—which had replaced communism as the prevailing threat to the country’s security—was succeeded by cocksucking, and a virile, youthful middle-aged president and a brash, smitten twenty-one-year-old employee carrying on in the Oval Office like two teenage kids in a parking lot revived America’s oldest communal passion, historically perhaps its most treacherous and subversive pleasure: the ecstasy of sanctimony. In the Congress, in the press, and on the networks, the righte
ous grandstanding creeps, crazy to blame, deplore, and punish, were everywhere out moralizing to beat the band: all of them in a calculated frenzy with what Hawthorne (who, in the 1860s, lived not many miles from my door) identified in the incipient country of long ago as “the persecuting spirit”; all of them eager to enact the astringent rituals of purification that would excise the erection from the executive branch, thereby making things cozy and safe enough for Senator Lieberman’s ten-year-old daughter to watch TV with her embarrassed daddy again. No, if you haven’t lived through 1998, you don’t know what sanctimony is. The syndicated conservative newspaper columnist William F. Buckley wrote, “When Abelard did it, it was possible to prevent its happening again,” insinuating that the president’s malfeasance—what Buckley elsewhere called Clinton’s “incontinent carnality”—might best be remedied with nothing so bloodless as impeachment but, rather, by the twelfth-century punishment meted out to Canon Abelard by the knife-wielding associates of Abelard’s ecclesiastical colleague, Canon Fulbert, for Abelard’s secret seduction of and marriage to Fulbert’s niece, the virgin Heloise. Unlike Khomeini’s fatwa condemning to death Salman Rushdie, Buckley’s wistful longing for the corrective retribution of castration carried with it no financial incentive for any prospective perpetrator. It was prompted by a spirit no less exacting than the ayatollah’s, however, and in behalf of no less exalted ideals.

  It was the summer in America when the nausea returned, when the joking didn’t stop, when the speculation and the theorizing and the hyperbole didn’t stop, when the moral obligation to explain to one’s children about adult life was abrogated in favor of maintaining in them every illusion about adult life, when the smallness of people was simply crushing, when some kind of demon had been unleashed in the nation and, on both sides, people wondered “Why are we so crazy?,” when men and women alike, upon awakening in the morning, discovered that during the night, in a state of sleep that transported them beyond envy or loathing, they had dreamed of the brazenness of Bill Clinton. I myself dreamed of a mammoth banner, draped dadaistically like a Christo wrapping from one end of the White House to the other and bearing the legend A HUMAN BEING LIVES HERE. It was the summer when—for the billionth time—the jumble, the mayhem, the mess proved itself more subtle than this one’s ideology and that one’s morality. It was the summer when a president’s penis was on everyone’s mind, and life, in all its shameless impurity, once again confounded America.

  Sometimes on a Saturday, Coleman Silk would give me a ring and invite me to drive over from my side of the mountain after dinner to listen to music, or to play, for a penny a point, a little gin rummy, or to sit in his living room for a couple of hours and sip some cognac and help him get through what was always for him the worst night of the week. By the summer of 1998, he had been alone up here—alone in the large old white clapboard house where he’d raised four children with his wife, Iris—for close to two years, ever since Iris suffered a stroke and died overnight while he was in the midst of battling with the college over a charge of racism brought against him by two students in one of his classes.

  Coleman had by then been at Athena almost all his academic life, an outgoing, sharp-witted, forcefully smooth big-city charmer, something of a warrior, something of an operator, hardly the prototypical pedantic professor of Latin and Greek (as witness the Conversational Greek and Latin Club that he started, heretically, as a young instructor). His venerable survey course in ancient Greek literature in translation—known as GHM, for Gods, Heroes, and Myth—was popular with students precisely because of everything direct, frank, and unacademically forceful in his comportment. “You know how European literature begins?” he’d ask, after having taken the roll at the first class meeting. “With a quarrel. All of European literature springs from a fight.” And then he picked up his copy of The Iliad and read to the class the opening lines. “‘Divine Muse, sing of the ruinous wrath of Achilles . . . Begin where they first quarreled, Agamemnon the King of men, and great Achilles.’ And what are they quarreling about, these two violent, mighty souls? It’s as basic as a barroom brawl. They are quarreling over a woman. A girl, really. A girl stolen from her father. A girl abducted in a war. Mia kouri—that is how she is described in the poem. Mia, as in modern Greek, is the indefinite article ‘a’; kouri, or girl, evolves in modern Greek into kori, meaning daughter. Now, Agamemnon much prefers this girl to his wife, Clytemnestra. ‘Clytemnestra is not as good as she is,’ he says, ‘neither in face nor in figure.’ That puts directly enough, does it not, why he doesn’t want to give her up? When Achilles demands that Agamemnon return the girl to her father in order to assuage Apollo, the god who is murderously angry about the circumstances surrounding her abduction, Agamemnon refuses: he’ll agree only if Achilles gives him his girl in exchange. Thus reigniting Achilles. Adrenal Achilles: the most highly flammable of explosive wildmen any writer has ever enjoyed portraying; especially where his prestige and his appetite are concerned, the most hypersensitive killing machine in the history of warfare. Celebrated Achilles: alienated and estranged by a slight to his honor. Great heroic Achilles, who, through the strength of his rage at an insult—the insult of not getting the girl—isolates himself, positions himself defiantly outside the very society whose glorious protector he is and whose need of him is enormous. A quarrel, then, a brutal quarrel over a young girl and her young body and the delights of sexual rapacity: there, for better or worse, in this offense against the phallic entitlement, the phallic dignity, of a powerhouse of a warrior prince, is how the great imaginative literature of Europe begins, and that is why, close to three thousand years later, we are going to begin there today . . .”

  Coleman was one of a handful of Jews on the Athena faculty when he was hired and perhaps among the first of the Jews permitted to teach in a classics department anywhere in America; a few years earlier, Athena’s solitary Jew had been E. I. Lonoff, the all-but-forgotten short story writer whom, back when I was myself a newly published apprentice in trouble and eagerly seeking the validation of a master, I had once paid a memorable visit to here. Through the eighties and into the nineties, Coleman was also the first and only Jew ever to serve at Athena as dean of faculty; then, in 1995, after retiring as dean in order to round out his career back in the classroom, he resumed teaching two of his courses under the aegis of the combined languages and literature program that had absorbed the Classics Department and that was run by Professor Delphine Roux. As dean, and with the full support of an ambitious new president, Coleman had taken an antiquated, backwater, Sleepy Hollowish college and, not without steamrolling, put an end to the place as a gentlemen’s farm by aggressively encouraging the deadwood among the faculty’s old guard to seek early retirement, recruiting ambitious young assistant professors, and revolutionizing the curriculum. It’s almost a certainty that had he retired, without incident, in his own good time, there would have been the festschrift, there would have been the institution of the Coleman Silk Lecture Series, there would have been a classical studies chair established in his name, and perhaps—given his importance to the twentieth-century revitalization of the place—the humanities building or even North Hall, the college’s landmark, would have been renamed in his honor after his death. In the small academic world where he had lived the bulk of his life, he would have long ceased to be resented or controversial or even feared, and, instead, officially glorified forever.

  It was about midway into his second semester back as a full-time professor that Coleman spoke the self-incriminating word that would cause him voluntarily to sever all ties to the college—the single self-incriminating word of the many millions spoken aloud in his years of teaching and administering at Athena, and the word that, as Coleman understood things, directly led to his wife’s death.

  The class consisted of fourteen students. Coleman had taken attendance at the beginning of the first several lectures so as to learn their names. As there were still two names that failed to elicit a response by the fifth week into
the semester, Coleman, in the sixth week, opened the session by asking, “Does anyone know these people? Do they exist or are they spooks?”

  Later that day he was astonished to be called in by his successor, the new dean of faculty, to address the charge of racism brought against him by the two missing students, who turned out to be black, and who, though absent, had quickly learned of the locution in which he’d publicly raised the question of their absence. Coleman told the dean, “I was referring to their possibly ectoplasmic character. Isn’t that obvious? These two students had not attended a single class. That’s all I knew about them. I was using the word in its customary and primary meaning: ‘spook’ as a specter or a ghost. I had no idea what color these two students might be. I had known perhaps fifty years ago but had wholly forgotten that ‘spooks’ is an invidious term sometimes applied to blacks. Otherwise, since I am totally meticulous regarding student sensibilities, I would never have used that word. Consider the context: Do they exist or are they spooks? The charge of racism is spurious. It is preposterous. My colleagues know it is preposterous and my students know it is preposterous. The issue, the only issue, is the nonattendance of these two students and their flagrant and inexcusable neglect of work. What’s galling is that the charge is not just false—it is spectacularly false.” Having said altogether enough in his defense, considering the matter closed, he left for home.

  Now, even ordinary deans, I am told, serving as they do in a no man’s land between the faculty and the higher administration, invariably make enemies. They don’t always grant the salary raises that are requested or the convenient parking places that are so coveted or the larger offices professors believe they are entitled to. Candidates for appointments or promotion, especially in weak departments, are routinely rejected. Departmental petitions for additional faculty positions and secretarial help are almost always turned down, as are requests for reduced teaching loads and for freedom from early morning classes. Funds for travel to academic conferences are regularly denied, et cetera, et cetera. But Coleman had been no ordinary dean, and who he got rid of and how he got rid of them, what he abolished and what he established, and how audaciously he performed his job into the teeth of tremendous resistance succeeded in more than merely slighting or offending a few odd ingrates and malcontents. Under the protection of Pierce Roberts, the handsome young hotshot president with all the hair who came in and appointed him to the deanship—and who told him, “Changes are going to be made, and anybody who’s unhappy should just think about leaving or early retirement”—Coleman had overturned everything. When, eight years later, midway through Coleman’s tenure, Roberts accepted a prestigious Big Ten presidency, it was on the strength of a reputation for all that had been achieved at Athena in record time—achieved, however, not by the glamorous president who was essentially a fund-raiser, who’d taken none of the hits and moved on from Athena heralded and unscathed, but by his determined dean of faculty.