"You fight your superficiality, your shallowness, so as to try to come at people without unreal expectations, without an overload of bias or hope or arrogance, as untanklike as you can be, sans cannon and machine guns and steel plating half a foot thick; you come at them unmenacingly on your own ten toes instead of tearing up the turf with your caterpillar treads, take them on with an open mind, as equals, man to man, as we used to say, and yet you never fail to get them wrong. You might as well have the brain of a tank. You get them wrong before you meet them, while you're anticipating meeting them; you get them wrong while you're with them; and then you go home to tell somebody else about the meeting and you get them all wrong again. Since the same generally goes for them with you, the whole thing is really a dazzling illusion. ... The fact remains that getting people right is not what living is all about anyway. It's getting them wrong that is living, getting them wrong and wrong and wrong and then, on careful reconsideration, getting them wrong again. That's how we know we're alive: we're wrong. Maybe the best thing would be to forget being right or wrong about people and just go along for the ride. But if you can do that -- well, lucky you. "
— Philip Roth

"The only obsession everyone wants: 'love.' People think that in falling in love they make themselves whole? The Platonic union of souls? I think otherwise. I think you're whole before you begin. And the love fractures you. You're whole, and then you're cracked open. "
— Philip Roth (The Dying Animal)

"He had learned the worst lesson that life can teach - that it makes no sense."
— Philip Roth (American Pastoral)

"I don’t ask writers about their work habits. I really don’t care. Joyce Carol Oates says somewhere that when writers ask each other what time they start working and when they finish and how much time they take for lunch, they’re actually trying to find out, "Is he as crazy as I am?" I don’t need that question answered."
— Philip Roth

"You put too much stock in human intelligence, it doesn't annihilate human nature."
— Philip Roth (American Pastoral)

"These girls with old gents don't do it despite the age—they're drawn to the age, they do it for the age. Why? In Consuela's case, because the vast difference in age gives her permission to submit, I think. My age and my
status give her, rationally, the license to surrender, and surrendering in bed is a not unpleasant sensation. But simultaneously, to give yourself over intimately to a much, much older man provides this sort of younger woman with authority of a kind she cannot get in a sexual arrangement with a younger man. She gets both the pleasures of submission and the pleasures of mastery."
— Philip Roth (The Dying Animal)

"Because that is when you love somebody - when you see them being game in the face of the worst. Not courageous. Not heroic. Just game."
— Philip Roth (The Human Stain)

"The pleasure isn't in owning the person. The pleasure is this. Having another contender in the room with you."
— Philip Roth (The Human Stain)

"Literature takes a habit of mind that has disappeared. It requires silence, some form of isolation, and sustained concentration in the presence of an enigmatic thing."
— Philip Roth

"Actually we did not have the feelings we said we had until we spoke them--at least I didn't; to phrase them was to invent them and own them."
— Philip Roth

"Maybe the best thing would be to forget being right or wrong about people and just go along for the ride. But if you can do that -- well, lucky you."
— Philip Roth

"You tasted it. Isn't that enough? Of what do you ever get more than a taste? That's all we're given in life, that's all we're given of life. A taste. There is no more."
— Philip Roth (The Dying Animal)

"I came to New York and in only hours, New York did what it does to people: awakened the possibilities. Hope breaks out."
— Philip Roth

"You fight your superficiality, your shallowness, so as to try to come at people without unreal expectations, without an overload of bias or hope or arrogance, as untanklike as you can be, sans cannon and machine guns and steel plating half a foot thick; you come at them unmenacingly on your own ten toes instead of tearing up the turf with your caterpillar treads, take them on with an open mind, as equals, man to man, as we used to say, and yet you never fail to get them wrong. You might as well have the brain of a tank. You get them wrong before you meet them, while you're anticipating meeting them; you get them wrong while you're with them; and then you go home to tell somebody else about the meeting and you get them all wrong again. Since the same generally goes for them with you, the whole thing is really a dazzling illusion empty of all perception, an astonishing farce of perception. And yet what are we to do about this terribly significant business of other people, which gets bled of the significance we think it has and takes on instead a significance that is ludicrous, so ill-equipped are we all to envision one another's interior workings and invisible aims? Is everyone to go off and lock the door and sit secluded like the lonely writers do, in a soundproof cell, summoning people out of words and then proposing that these word people are closer to the real thing than the real people that we mangle with our ignorance every day? The fact remains that getting people right is not what living is all about anyway. It's getting them wrong that is living, getting them wrong and wrong and wrong and then, on careful reconsideration, getting them wrong again. That's how we know we're alive: we're wrong. Maybe the best thing would be to forget being right or wrong about people and just go along for the ride. But if you can do that -- well, lucky you."
— Philip Roth (American Pastoral)

"Doctor doctor, what do you say, lets put the id back in yid"
— Philip Roth (Portnoy's Complaint)

"'Writing turns you into somebody who's always wrong. the illusion that you may get it right someday is the perversity that draws you on. What else could? As pathological phenomena go, it doesn't completely wreck your life.'"
— Philip Roth

"Oh, to be a center fielder, a center fielder- and nothing more"
— Philip Roth (Portnoy's Complaint)

""And as he spoke, I was thinking, 'the kind of stories that people turn life into, the kind of lives people turn stories into.'""
— Philip Roth

"How easy life is when it's easy, and how hard when it's hard."
— Philip Roth (The Professor of Desire)

""--nor had I understood til then how the shameless vanity of utter fools can so strongly determine the fate of others""
— Philip Roth (The Plot Against America)

"Is everyone to go off and lock the door and sit secluded like the lonely writers do, in a soundproof cell, summoning people out of words and then proposing that these word people are closer to the real thing than the real people that we mangle with our ignorance every day? The fact remains that getting people right is not what living is all about anyway. It's getting them wrong that is living, getting them wrong and wrong and wrong and then, on careful consideration, getting them wrong again."
— Philip Roth (American Pastoral)

"There are no uncontaminated angels"
— Philip Roth

"No matter how much you know, no matter how much you think, no matter how much you plot and you connive and you plan, you're not superior to sex. It's a very risky game. A man wouldn't have two-thirds of the problems he has if he didn't venture off to get fucked. It's sex that disorders our normally ordered lives."
— Philip Roth (The Dying Animal)

"Spring me from this role I play of the smothered son in the Jewish joke! Because it's beginning to pall a little at thirty-three!"
— Philip Roth (Portnoy's Complaint)

"My
God! The English language is a form of communication! Conversation isn't just crossfire where you
shoot and get shot at! Where you've got to duck for your life and aim to kill! Words aren't only bombs
and bullets —no, they're little gifts, containing meanings!"
— Philip Roth (Portnoy's Complaint)

"I turn sentences around. That's my life. I write a sentence and then I turn it around. Then I look at it and turn it around again..."
— Philip Roth (Ghost Writer)

"The fact remains that getting people right is not what living is all about anyway. It's getting them wrong that is living, getting them wrong and wrong and wrong and then, on careful reconsideration, getting them wrong again. That's how we know we're alive: we're wrong."
— Philip Roth

"Either foreswear fucking others or the affair is over."
— Philip Roth (Sabbath's Theater)

"Dreams? If only they had been! But I don't need dreams, Doctor, that's why I hardly have them—because I have this life instead. With me it all happens in broad daylight!"
— Philip Roth (Portnoy's Complaint)

"Everyone becomes a part of history whether they like it or not and whether they know it or not."
— Philip Roth

"All that we don’t know is astonishing. Even more astonishing is what passes for knowing."
— Philip Roth

"Doctor, I had never had anybody like her in my life, she was the fulfillment of my most lascivious adolescent dreams– but marry her, can she be serious? You see, for all her preening and
perfumes, she has a very low opinion of herself, and simultaneously– and here is the source of much of
our trouble-a ridiculously high opinion of me. And simultaneously, a very low opinion of me! She is
one confused Monkey, and, I'm afraid, not too very bright."
— Philip Roth (Portnoy's Complaint)

"The legend engraved on the face of the Jewish nickel– on the body of every Jewish child!– not IN GOD WE TRUST, but SOMEDAY YOU'LL BE A PARENT AND YOU'LL KNOW WHAT IT'S LIKE."
— Philip Roth (Portnoy's Complaint)

"Good Christ, a Jewish man with parents alive is a fifteen-year-old boy, and will remain a fifteen-year-old boy till
they die!"
— Philip Roth (Portnoy's Complaint)

"It's best to give while your hand is still warm."
— Philip Roth (Everyman)

"Doctor Spielvogel, it alleviates nothing fixing the blame - blaming is still ailing, of course, of course - but nonetheless, what was it with these Jewish parents, what, that they were able to make us little Jewish boys believe ourselves to be princes on the one hand, unique as unicorns on the one hand, geniuses and brilliant like nobody has ever been brilliant and beautiful before in the history of childhood - saviors and sheer perfection on the one hand, and such bumbling, incompetent, thoughtless, helpless, selfish, evil little shits, little ingrates, on the other!"
— Philip Roth (Portnoy's Complaint)

"What use to skip those two grades in grammar school and get such a jump on everybody else,
when the result is to wind up so far behind?"
— Philip Roth (Portnoy's Complaint)

"Nothing lasts and yet nothing passes either, and nothing passes just because nothing lasts."
— Philip Roth (The Human Stain)

"Everybody else is working to change, persuade, tempt and control them. The best readers come to fiction to be free of all that noise."
— Philip Roth

"You asked if I thought my fiction had changed anything in the culture and the answer is no. Sure, there's been some scandal, but people are scandalized all the time; it's a way of life for them. It doesn't mean a thing. If you ask if I want my fiction to change anything in the culture, the answer is still no. What I want is to possess my readers while they are reading my book--if I can, to possess them in ways that other writers don't. Then let them return, just as they were, to a world where everybody else is working to change, persuade, tempt, and control them. The best readers come to fiction to be free of all that noise, to have set loose in them the consciousness that's otherwise conditioned and hemmed in by all that isn't fiction. This is something that every child, smitten by books, understands immediately, though it's not at all a childish idea about the importance of reading."
— Philip Roth

"You get them wrong before you meet them, while you're anticipating meeting them; you get them wrong while you're with them; and then you go home to tell somebody else about the meeting and you get them all wrong again. Since the same generally goes for them with you, the whole thing is really a dazzling illusion. ... The fact remains that getting people right is not what living is all about anyway. It's getting them wrong that is living, getting them wrong and wrong and wrong and then, on careful reconsideration, getting them wrong again. That's how we know we're alive: we're wrong. Maybe the best thing would be to forget being right or wrong about people and just go along for the ride. But if you can do that -- well, lucky you."
— Philip Roth (American Pastoral)

""Oh Mickey, it was wonderful, it was fun - the whole kitten and kaboozle. It was like living. And to be denied that whole part would be a great loss. You gave it to me. You gave me a double life. I couldn't have endured with just one."
"I'm proud of you and your double life."
"All I regret", she said, crying again, crying with him, the two of them in tears..."is that we couldn't sleep together too many nights. To commingle with you. Commingle?"
"Why not."
"I wish tonight you could spend the night."
"I do, too. But I'll be here tomorrow night."
"I meant it up at the Grotto. I didn't want to fuck any more men even without the cancer. I wouldn't do that even if I was alive."
"You are alive. It is here and now. It's tonight. You're alive."
"I wouldn't do it. You're the one I always loved fucking. But I don't regret that I have fucked many. It would have been a great loss to have had otherwise. Some of them, they were sort of wasted times. You must have that, too. Haven't you? With women you didn't enjoy?"
"Yes."
"Yes, I had experiences where the men would just want to fuck you whether they cared about you or not. That was always harder for me. I give my heart, I give my self, in my fucking."
"You do indeed."

And then, after just a little drifting, she fell asleep and so he went home - "I'm leaving now" - and within two hours she threw a clot and was dead.
So those were her last words, in English anyway. I give my heart, I give my self, in my fucking. Hard to top that.
To commingle with you, Drenka, to commingle with you now."
— Philip Roth (Sabbath's Theater)

"In my childhood I led the life of a sage, when I grew up I started climbing trees"
— Philip Roth (The Ghost Writer)

"You fight your superficiality, your shallowness, and so as to try to come at people without unreal expectations, without an overload of bias or hope or arrogance, as untanklike as you can be, sans cannon and machine guns and steel plating half a foot thick; you come at them unmenacingly on your own ten toes instead of tearing up the turf with your caterpillar treads, take them on with an open mind, as equals, man to man, as we used to say, and yet you never fail to get them wrong. You might as well have the brain of a tank. You get them wrong before you meet them, while you're anticipating meeting them; you get them wrong while you're with them; and then you go home to tell somebody else about the meeting and you get them all wrong again. Since the same generally goes for them with you, the whole thing is really a dazzling illusion empty of all perception, an astonishing farce of misperception. And yet what are we to do about this terribly significant business of other people, which gets bled of the significance we think it has and takes on a significance that is ludicrous, so ill-equipped are we all to envision one another's interior workings and invisible aims?"
— Philip Roth (American Pastoral)

""How Far back must we go to discover the beginning of trouble?""
— Philip Roth

"'American society [...] not only sanctions gross and unfair relations among men, but it encourages them. Now, can that be denied? No. Rivalry, competition, envy, jealousy, all that is malignant in human character is nourished by the system. Possession, money, property--on such corrupt standards as these do you people measure happiness and success.'"
— Philip Roth (Portnoy's Complaint)

"War with Canada was far less of an enigma to me than what Aunt Evelyn was going to use for a toilet during the night"
— Philip Roth (The Plot Against America)

"The fact remains that getting people right is not what living is all about anyway. It's getting them wrong that is living, getting them wrong and wrong and wrong and then, on careful reconsideration, getting them wrong again. That's how we know we're alive: we're wrong. Maybe the best thing would be to forget about being right or wrong about people and just go along for the ride. But if you can do that—well, lucky you."
— Philip Roth (American Pastoral)

"I was gushing and I knew it. I surprised myself with my eagerness to please, felt myself saying too much, explaining too much, overinvolved and overexcited in the way you are when you're a kid and you think you've found a soul mate in the new boy down the street and you feel yourself drawn by the force of the courtship and so act as you don't normally do and a lot more openly than you may even want to."
— Philip Roth (The Human Stain)

"je kunt alles doorstaan zei Phoebe, zelfs als het vertrouwen geschonden is, als het maar eerlijk wordt bekend. je wordt dan levenspartners op een andere manier, maar je kunt nog wel partners blijven. maar liegen- liegen is een goedkope manier van macht uitoefenen over de ander. wie liegt, kijkt toe terwijl de ander handelt op basis van onvolledige informatie- met andere woorden zichzelf vernedert. ... het is toch eeuwig hetzelfde verhaal. de man verliest de hartstocht voor de huwelikspartner, zonder dat kan hij niet leven. de vrouw is pragmatisch. de vrouw is realistisch. zeker de hartstocht is geluwd, maar zij is tevreden met de lichamelijke genegenheid, gewoon samen met hem in bed liggen, hij in haar armen, zij in de zijne. maar voor hem is dat niet genoeg. hij is een man die niet zonder leven kan"
— Philip Roth (Everyman)