The Dying Animal

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.With these words our most unflaggingly energetic and morally serious novelist launches perhaps his fiercest book. The speaker is David Kepesh, white-haired and over sixty, an eminent cultural critic and star lecturer at a New York collegeas well as an articulate propagandist of the sexual revolution. For years he has made a practice of sleeping with adventurous female students while maintaining an aesthete's critical distance. But now that distance has been annihilated. The agency of Kepesh's undoing is Consuela Castillo, the decorous and humblingly beautiful 24-year-old daughter of Cuban exiles. When he becomes involved with her, Kepesh finds himself draggedhelplessly, bitterly, furiouslyinto the quagmire of sexual jealousy and loss. In chronicling this descent, Philip Roth performs a breathtaking set of variations on the themes of eros and mortality, license and repression, selfishness and sacrifice.The Dying Animalis a burning coal of a book, filled with intellectual heat and not a little danger.

In the 1990s Philip Roth won America's four major literary awards in succession: the National Book Critics Circle Award for <b>Patrimony</b> (1991), the PEN/Faulkner Award for <b>Operation Shylock</b> (1993), the National Book Award for <b>Sabbath's Theater</b> (1995), and the Pulitzer Prize in fiction for <b>American Pastoral</b> (1997). He won the Ambassador Book Award of the English-Speaking Union for <b>I Married a Communist</b> (1998); in the same year he received the National Medal of Arts at the White House. Previously he won the National Book Critics Circle Award for <b>The Counterlife</b> (1986) and the National Book Award for his first book, <b>Goodbye, Columbus</b> (1959). In 2000 he published <b>The Human Stain</b>, concluding a trilogy that depicts the ideological eth