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The Anatomy Lesson (Zuckerman Bound #3)

3.66 of 5 stars 3.66 · rating details · 1,061 ratings · 66 reviews

At forty, the writer Nathan Zuckerman comes down with a mysterious affliction—pure pain, beginning in his neck and shoulders, invading his torso, and taking possession of his spirit. Zuckerman, whose work was his life, is unable to write a line. Now his work is trekking from one doctor to another, but none can find a cause for the pain and nobody can assuage it. Zuckerman...more

Paperback, 304 pages

Published January 30th 1996 by Vintage (first published November 1st 1983)

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Oct 12, 2007 Joe rated it 4 of 5 stars Recommends it for: aspiring writers and doctors

Shelves: jewish, fiction

What is perhaps so striking about this book is that Philip Roth depicts an aging writer who, because of undiagnosed physical pain, has stopped writing filling his world with doubt and despair. Zuckerman's pain is very much an investigation of Roth's own biographical highlights. Roth too recovered from surgery, stopped finding writing worthwhile, and was attacked over and over again for his most infamous novel Portnoy's Complaint i.e. "Carnovsky." So disillusioned with writing is Zuckerman that h...more What is perhaps so striking about this book is that Philip Roth depicts an aging writer who, because of undiagnosed physical pain, has stopped writing filling his world with doubt and despair. Zuckerman's pain is very much an investigation of Roth's own biographical highlights. Roth too recovered from surgery, stopped finding writing worthwhile, and was attacked over and over again for his most infamous novel Portnoy's Complaint i.e. "Carnovsky." So disillusioned with writing is Zuckerman that he wants to become a doctor, healing his own pain, but mroe importantly healing his own doubt. Idealistic, yes, but as Roth always does, his characters' occupations always inform on writing. For Zuck, being a doctor means working with people, not alone with doubt.

Some of the wildest passages are when Zuckerman poses as a pornographer he has named after his worst literary critic, Appel. His arguments for pornography sadistically paralell a defense for his own writing. It abuses women? It is bad for the Jews? No! You misunderstand me. Though posing as Appel is revenge in writerly overdrive, Roth is reacting to his real world critics while underminding his characters. Yep, meta-meta-meta fiction. Arg. You know it, enjoy.

Read this on the heels of Zuckerman Unbound to see Nathan dealing with his success. I think that Roth writes these books for the idealistic. He wants people to know that writing is hard, celebrity is harder, and that even though everyone is going to tell you you are crazy, no one will sympathize with your literary plights. Or career choices for that matter. Zuckerman lives for a time with an unrealistic dream to be a doctor and when explaining this to his college friend Bobby, now a doctor, he is turned off of his idealism. It is not writing that is full of doubt; life is full of doubt. Some of Roth's most touching passages are when Zuckerman, finally finding solace in people who actually address his pain as life's pain, wanders here and there in a hospital. He talks with the elderly. He visits those who are sick. He pushes an old man around in a wheel-chair. He is inspecting himself and realizing, in the calm after his personal storms, that "This is life. With real teeth in it." And though Zuckerman may still not have matured all the way out of himself, he is set to try. (less)

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Aug 27, 2007 R. rated it 4 of 5 stars Recommends it for: grief-stricken sons, doubtful writers

Shelves: 2007

Perhaps...perhaps the comparisons to Kafka aren't entirely unjustified.

***
My "problem" with approaching Roth has always been the instinct that his books were about him.

Well, no surprise: they are. Or at least this one is.

Even the dialogue comes off sounding like he's sitting there at his typewriter, furiously talking to himself putting the anger into Zuckerman's voice, and the dissenting opinion into the voice of the Female Who Adores Him.

"Push!"
"Pull!"

Or, more correctly:

"Jews push!"
"Jews pul...more

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Aug 18, 2007 Ja'net rated it 2 of 5 stars

If the first half of this book didn't exist, the book would've earned three/three and a half stars. But the first 150 pages or so are completely unfocused, boring, and incredible (though I've heard much of what happens in the book actually happened to Roth in real life--a claim that is irrelevant, as far as I'm concerned)that I nearly hurled this book across the room at several points during my arduous attempts at finishing it. The Anatomy Lesson was my first and LAST experience with Roth.

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Sep 14, 2010 Beverly rated it 4 of 5 stars

Shelves: literary

Nathan Zuckerman and his doppelganger Philip Roth have grown on me. While not exactly likable, Nathan at age 41 in this installment of the Zuckerman trilogy helped me to understand the method of Roth's fictions. They are totally centered in one single consciousness. I guess that should be obvious, but somehow the intensity of Nathan's ruminating and suffering here made the obvious hit me over the head. There was a funny section (both ha ha and strange)in this novel that showed how the novelist c...more

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May 17, 2010 Justin Evans rated it 4 of 5 stars

Shelves: fiction

Far and away the most rewarding of the first three Zuckerman books. Is that because Roth is just a less cliched character as he gets older? I find that hard to believe. But it makes me wonder- if you're writing what is essentially autobiography, and you're committed to not lying, how hard is it to attain any artistic unity? Not sure Roth did it in the Ghost Writer or in Z. Unbound; here he manages a bit better. Maybe that's just because the Portrait of the Young Artist thing of GW is mind boggli...more Far and away the most rewarding of the first three Zuckerman books. Is that because Roth is just a less cliched character as he gets older? I find that hard to believe. But it makes me wonder- if you're writing what is essentially autobiography, and you're committed to not lying, how hard is it to attain any artistic unity? Not sure Roth did it in the Ghost Writer or in Z. Unbound; here he manages a bit better. Maybe that's just because the Portrait of the Young Artist thing of GW is mind bogglingly tired, and the Portrait of the Famous Artist thing wasn't done so well in ZU.
But here the really big topics are dealt with reasonably well: death, pain, guilt, escapism. You get some early Roth ranting, which is always fun; Roth feels emotional pain because of the ranting which is interesting; and Roth thinks a little ponderously about reflecting on his early ranting: "If you get out of yourself you can't be a writer because the personal ingredient is what gets you going, and if you hang on to the personal ingredient any longer you'll disappear right up your own asshole." Of course, this is in the third volume of an autobiography and in his thirteenth or so book, so maybe the thought is a little late; maybe it's meant to be clever clever ambiguity; I like to think he actually realized the problem he faced and tried to think seriously about it. I'm not sure he overcame it, here or elsewhere, but this book seems to treat the problem in a comparatively dignified manner.

Two catches: does Roth realize that the insane feminist-bashing he spews forth under the name of his nemesis is more or less replicated in The Human Stain? And how will the schematic psychologizing will look in fifty years? It's already a bit frayed. Some critics approve of it ('if Z has a failed relationship at age 40, we remember his failed relationship at age 23, and his guilt over his mother at age 12' and so on), but I find it irritating; obviously I hope history supports my own impeccable feelings. (less)

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Jan 25, 2010 Ryan rated it 4 of 5 stars

I continue to get sucked in by Roth -- a phrasing that Philip would indeed love, as I discover more and more his exploration of the themes of not only his Jewishness but that of sexuality. In general this book covers themes that his earlier works has as well, but what I'm really loving (especially with the Zuckerman series) is his method of playing around with the writer's mentality as Zuckerman (the fictional writer) explores his work and his art and its effect as a way of mirroring his own (Ro...more I continue to get sucked in by Roth -- a phrasing that Philip would indeed love, as I discover more and more his exploration of the themes of not only his Jewishness but that of sexuality. In general this book covers themes that his earlier works has as well, but what I'm really loving (especially with the Zuckerman series) is his method of playing around with the writer's mentality as Zuckerman (the fictional writer) explores his work and his art and its effect as a way of mirroring his own (Roth's) exploration of art and its effect.

As always Roth's sentences pop out of the page, and many sections are filled with humor and dramatic irony. You laugh when you aren't expecting it and you honestly have no idea where Roth is going to take his character.

The major theme explored in this outing is pain -- Zuckerman's unexplainable pain -- and the character's methods of dealing with it as well as attempting to discover its origin. This storyline, I felt, tended to get a little old, but I loved where he took it in the 5th and final section, culminating in a wonderful cemetery scene as Zuckerman's conflict from the previous book in the series comes back in a completely and dramatically ironic fashion -- we see it, and our poor protagonist seems not to, as the final paragraph of the book closes. The final pages show us the greater meaning of the previous 270: for which I'm glad, as I was beginning to wonder exactly what the 270 were all about -- now it makes sense. (This is why you don't ever stop reading a book half way through!) We now see Roth's greater comment on the notion of empathy and the importance of which the writer must never underestimate or take for granted.

There's a lot of Roth on my plate, but I'm really loving this Zuckerman series. I think I'm going to tackle "the epilogue" and The Counterlife and finish out the final trilogy of the series before starting up with his Roth Series or his Standalones. (And I will say, that his satiric treatment of Zuckerman's "Carnovsky" -- a parody of Roth's own "Portnoy's Complaint" as his writer's controversial, pornographic money-maker -- makes the actual reading of Portnoy's ultimately worth it.)

(I also found the attached link extremely insightful as I tend to look up the "info of the day" back when the book I've finished reading was published, from the New York Times -- crazy Communist liberals though they are, even in '83 in the midst of the Red Scare: http://www.nyt.net/books/98/12/06/spe...)(less)

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Mar 23, 2007 Ioana-Maria rated it 4 of 5 stars

(Part of the Zuckerman trilogy). Zuckerman is one of Roth's first-person narrators. He's a successful writer who hasn't written in a long time. He has a constant back/neck pain, so he spends his days lying down on a mat, trying to juggle his three mistresses. To ease his pain, he takes painkillers, drinks votca, and smokes pot. In his delirious attempt to change his life, he takes a trip which will change his life. (Not really, it just sounded cool to write that.)

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May 31, 2012 John rated it 5 of 5 stars

The Ghost Writer, Zuckerman Unbound, and The Anatomy Lesson are of a piece. Not a trilogy in the usual sense, but connected nonetheless: the story of Nathan Zuckerman (often called Philip Roth's alter ego) over a period of twenty something years.

Roth has said these novels are not autobiographical, and I think that is true in the most literal sense. But they seem to reflect Roth's experience, as Zuckerman evolves from young unknown to established author of a controversial book, Carnovsky, which i...more

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Feb 21, 2009 Richard rated it 4 of 5 stars

For the first half of the book, I thought this was going to be my favorite Zuckerman book. Nathan Zuckerman, put down by some serious pain that no one had been able to find the source of, stoops to the level of possibly letting happen what he'd been resisting through Zuckerman Unbound, and that was becoming his own character, Carnovsky. Like the previous book, Zuckerman still has some struggles with his fame, but some passages are LOL-funny. The extrmism and downright horniness of the writing be...more

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Sep 15, 2010 Steve rated it 4 of 5 stars

Shelves: novel

"His father had never forgiven the mockery in Carnovsky...the wounded pride, the confused emotions, the social embarassment...his brother had claimed that he'd committed murder..he didn't consider it seemly, twenty years on, still to be complaining to his roommate that nobody from New Jersey knew how to read." (p. 621)

"The last of the old-fashioned fathers. And we, though Zuckerman, the last of the old-fashioned sons. Who that follows after us will understand how midway through the twentieth ce...more "His father had never forgiven the mockery in Carnovsky...the wounded pride, the confused emotions, the social embarassment...his brother had claimed that he'd committed murder..he didn't consider it seemly, twenty years on, still to be complaining to his roommate that nobody from New Jersey knew how to read." (p. 621)

"The last of the old-fashioned fathers. And we, though Zuckerman, the last of the old-fashioned sons. Who that follows after us will understand how midway through the twentieth century, in this huge, lax, disjointed democracy, a father--and not even a father of learning or eminence or considerable power--could assume the stature of a father in a Kafka story? No, the good old days are just about over, when half the time, without even knowing it, a father could sentence a son to punishment for his crimes, and the love and hatred of authority could be such a painful, tangled mess." (p. 686)

"Chronic pain teaches us what well-being is; what cowardice is; and a little something of what it is to be sentenced to hard-labor." (p. 653) "On the road to the cemetery, it's simple: what is coming. Illness is a message from the grave. Greetings: you and your body are one--it goes, you follow." (p. 660) "That's how you lose your fear of death--you don't give a shit anymore." (p. 666)

"I had the recognition. I had the public. In the end it doesn't do anything to the public, but to me it did plenty." (p. 613 of ZB)

"Zuckerman was frightened of everything: of success, of failure, of being known and of being forgotten; of being bizarre and of being ordinary; of being admired and of being despised; of being alone and of being among people; of himself and of his instincts, and of being frightened." (p. 440-1 of ZB) This is the condition of every writer.

"Life and art are distinct, thought Zuckerman; what could be clearer? Yet the distinction is wholly elusive. That writing is an act of imagination seems to perplex and infuriate everyone." (p. 450) This problem only seems to have got worse since TAL came out. It was a problem for Faulkner; it was a problem for Roth; it's a mega-problem for any writer who isn't a recluse. As Roth has lamented elsewhere, "When I write fiction, they tell me it's autobiography; when I write autobiography, they tell me it's fiction." And he's right. It is an insult to our intelligence to confuse the two, yet even big-name editors at big-name publications [who I won't name] say the kind of stupid things Roth's comic characters say here. It's nothing short of the death of literature when we are so literal minded that we assume that writers have no imaginations; it's a complete abdication of reading comprehension.

Just as wonderfully Kafkan as the title sounds. Truly brilliant: Zuckerman's "corpus" is afflicted with a mysterious pain. Doctors can find no physical cause. So, he has to find the psychosomatic one. What about his interior life is causing this pain? It's a bit like if Kafka were to write for My Name is Earl. Roth has several modes--his Henry James mode [Letting Go, When She Was Good], his Kafka mode [the Breast, Operation Shylock, this book], his Lenny Bruce mode (Portnoy, the Great American Novel, Our Gang), and his more effusive, bloated late style (since Sabbath's Theater). He's really a remarkable phenomenon. Few can stand having their name uttered in the same breath as the immortal Kafka. Roth is one.

But nobody is better than Roth at depicting the soul blindsided by a rebellious body (Exit Ghost, Everyman, Sabbath's Theater, The Anatomy Lesson).

The problem is the same one from Zuckerman Unbound (which is why I recommend Zuckerman Bound be read as one work)--it is Carnovsky (what a brilliant title, even. Carn as in "flesh.") (less)

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Nov 10, 2009 Jeremy Allan rated it 3 of 5 stars

Shelves: modern-fiction

Do you pinch your arm to try to distract yourself from the pain of a stubbed toe?

Warning: you may start to feel sympathetic pain if you set this book down midstream. It's as if Nathan Zuckerman will leave you alone only so long as you keep on with his narrative. Otherwise, he'll start to project his suffering on you, until you've finished the novel.

My father says, "Roth can be an acquired taste." I believe everything my father says, but especially in this case. So, if you don't like Roth, fine...more

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Jan 04, 2012 Josh rated it 4 of 5 stars

I gave it four stars because every page of it was absorbing the way Roth always is (incomparably), but it didn't seem to have a destination. I almost don't care. Every character and scene and memory described is excellent. His earlier books are less fiery and, well, perfect than his later ones. The book preceding this one in the series, Zuckerman Unbound, also seems at times unstructured, but its ending disproves this idea. This one is considerably longer and seems to end arbitrarily. Also, it's...more

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Jan 25, 2012 Louis Dirigible rated it 3 of 5 stars

less well-received but at least the climax is funny. i don't find roth funny but he paints himself so much the boxer in the corner fighting his way out, even with the bag over his head fighting jewish ghosts you admire something of his brass-tacks perseverance.

this is the only roth book i remember where the protagonist admits he doesn't know something. once early on with some chick and later with the dolorologist. i take this as the humbling pain brings him but it's interesting to see: the one b...more

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Jan 24, 2008 Adam rated it 3 of 5 stars

I love all the Nathan Zuckerman books.

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Apr 23, 2013 Ben Chinn rated it 5 of 5 stars

A fitting close to the first Zuckerman trilogy, this book – referred to by Roth in an interview as "The Pain Book" – explores sickness, death, creativity, identity and yes, pain. What does it mean to be a son without parents, a writer who can't write, a Jew without Judaism? Zuckerman has to tackle all these issues in The Anatomy Lesson and I was right there with him. In this book Roth establishes a frenzied pace that keeps building and building to a furious climax in a way that made this a tough...more

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Oct 13, 2012 Mario rated it 3 of 5 stars

Shelves: fiction, literature, society

What I respect about Roth's Zuckerman works is that, while they are clearly in some way autobiographical, and consistently egocentric, when it comes down to an argument between Zuckerman and anyone else, the argument is real and fair to both sides. Too often in in works of this nature, the author bends facts and tilts the playing field in their main character's favor. The books are not about the story itself at that point, but about the author attempting to strong-arm the readers into agreement....more

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Dec 14, 2010 Paola rated it 4 of 5 stars · review of another edition

Shelves: narrativa

http://it.wikipedia.org/wiki/File:Rem...

"Cosa ci insegna il dolore cronico? (...) Il dolore cronico ci insegna: primo, cos'é il benessere; secondo, cos'é la codardia; terzo, un po' di quello che significa essere condannati ai lavori forzati. Il dolore é lavoro. Che altro, Nathan, cosa soprattutto? Ci insegna chi é il padrone. Esatto. Ora elenca tutti i modi di affrontare un dolore cronico. Puoi subirlo. Puoi lottare contro di esso. Puoi odiarlo. Puoi cercare di capirlo. Puoi tentare di scappare....more

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Nov 05, 2010 Jason Pettus rated it 5 of 5 stars

Shelves: postmodernism, classic, character-heavy, funny, hipster

(Reprinted from the Chicago Center for Literature and Photography [cclapcenter.com]. I am the original author of this essay, as well as the owner of CCLaP; it is not being reprinted illegally.)

As regular visitors know, I'm in the midst of reading all nine of the autobiographical "Nathan Zuckerman" novels that author Philip Roth has penned over the decades, from 1979's The Ghost Writer to 2007's Exit Ghost. And that's because, as a newish book critic (only three years full-time now), I'm continua...more

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Jul 16, 2009 Hollis rated it 3 of 5 stars · review of another edition

Shelves: literary-fiction

I liked this but it was just too long. I enjoyed 'The Ghost Writer' and 'Zuckerman Unbound' because they were both short and easier to absorb. This one is twice the length and that is twice as long as I wanted to spend in the poisonous world of Nathan Zuckerman. About halfway through I stopped caring about Zuckerman: I wished he would just go and kill himself so I could be finished with the story. But on it goes for another 100 pages...

As usual with Roth, he lightens things up with some comic mo...more

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Oct 11, 2008 Daniel rated it 4 of 5 stars

Shelves: books-about-writers, 2008

It was arguably a mistake to read "The Anatomy Lesson" without first reading the previous two books in the Zuckerman series, but the third installment works fine on its own, especially if the reader has a working knowledge of Philip Roth's own history. One can easily mentally replace "Carnovsky," the book for which author Nathan Zuckerman became famous, with Roth's own "Portnoy's Complaint," and all becomes clear. (I read "Portnoy's Complaint" many, many years ago, but it's not a book one quickl...more

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Aug 30, 2007 Mike rated it 4 of 5 stars Recommends it for: roth-zuckerman lovers

this is the conclusion to the first zuckerman trilogy of roth's series. From what i understand, this first collection of zuckerman books (continued with The Prague Orgy) is more about the life of the artist and the writing process and the lows and highs of being a popular author. Contrary to this, the later zuck books actually expand from these themes and deal with characters other than zuckerman himself. Of these first three, i found zuckerman unbound to be the most entertaining to read. it was...more

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Jul 14, 2010 David rated it 5 of 5 stars

This has to be my favorite of the Zuckerman series. Maybe even one of Roth's better books outside of ones like "The Plot Against America," "American Pastoral," and "The Human Stain." Extremely visceral at times, yet wonderfully comedic at others. At the core, the mental torment the narrator struggles with seems more fully realized than in many other Roth books. I certainly wasn't expecting to get this much. A must read for any Roth aficionado.

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Jun 30, 2010 Jill rated it 2 of 5 stars

Shelves: the-jews, american-lit

This could have been a good read. It started out fine, but it just drowns you in smut and really crude dialogue. I wouldn't bother with this one. It's not worth what you have to put up with to get to the meat of the story. Then there's the problem of the protagonist, whom you despise even more with every page you turn. He's a total scumbag, and it's hard to care about anything that happens to him.

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Dec 14, 2008 Phil is currently reading it

I have been reading Roth's Zuckerman novels for the past few years--this book is not one of the best. It is talky (nothing new), repetitive (both internally and concerning Zuckerman's family and community histories, the flapdoodle caused by the publishing of Carnovsky, and his sex life), and occasionally studded with really great moments. I plan on re-reading (or, at least, skimming) American Pastoral, which I really liked.

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Nov 10, 2008 Krok Zero rated it 3 of 5 stars

Shelves: fall-2008

As always, Roth's prose is breathtaking, and engaging every step of the way. But I'm getting awfully tired of whiny-ass Zuckerman. It's amazing how Roth keeps finding new ways to weave innumerable handsome sentences out of what are essentially the same three or four of Zuckerman's problems. I found it amusing that Zuck's big goal is to escape the solipsistic life of the novelist, while this novel—The Anatomy Lesson—is built entirely on a foundation of solipsism. Obviously Roth knows that, so I g...more

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Dec 30, 2012 Marti rated it 4 of 5 stars · review of another edition

Magistrale. Per me da quando Zuckerman lascia l'upper east side si tocca il punto pi�� alto della trilogia.

Ci�� che me lo fa definire addirittura meraviglioso �� la descrizione dell'uomo di fronte alla crisi, della mente che lascia i suoi binari abituali. Cos�� precisa e reale, ma mai ridondante; in una parola: perfetta.

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Jul 03, 2008 Al rated it 4 of 5 stars · review of another edition Recommends it for: David

Roth has a way of moving forward thru the character known as Zuckerman where he feels tornado-like verbally. Plot points arrive and he moves through them then rotates to a surprising next point. Being Jewish is a theme here again and instead of answering a question he had one character pose, he uses action, and a change in situation to respond - Roth is one deft writer of energy, high intelligence, humor both comic and manic, as well as unafraid to deal with subjects by showing gradations rather...more

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Sep 29, 2012 Clara rated it 2 of 5 stars

OH MY GAWD I'M IN SOOOO MUCH PAIN AND MY BACK HURTS AND I CAN'T FUNCTION SO I WILL WHINE LIKE A HELPLESS CHILD WHILE FEELING TERRIBLY SORRY FOR MYSELF AND TAKING CODEINE/WHISKEY TINCTURES...

This book was my first introduction to Zuckerman. I'm not a fan. But I won't rule out the non-Zuckerman books--I've heard that those are good.

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Nov 26, 2008 Emily rated it 2 of 5 stars

Christoph und ich haben ja diese Diskussion über Alte-Sack-Literaten. Philipp Roth ist ein delikates Beispiel, weil er andererseits natürlich den Nobelpreis verdient hat. Aber wenn nervt noch diese Altersgeilheit und das langweilige, unstrukturierte Gelaber über Sex? In diesem seiner Werke besonders auffällig...

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Dec 31, 2010 Nicky rated it 3 of 5 stars · review of another edition

Shelves: read-in-2010

The third book of the Zuckerman books sees our hero plagued by a mystery illness that forces him to spend his days sprawled on a play mat, getting soused and receiving visits from an array of ladies. In the latter half of the book he heads out to Chicago to apply for medical school. What a nut.

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About Philip Roth

Philip Milton Roth is an American novelist. He gained early literary fame with the 1959 collection Goodbye, Columbus (winner of 1960's National Book Award), cemented it with his 1969 bestseller Portnoy's Complaint, and has continued to write critically-acclaimed works, many of which feature his fictional alter ego, Nathan Zuckerman. The Zuckerman novels began with The Ghost Writer in 1979, and inc...more

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