Philip Roth's THE GREAT AMERICAN NOVEL is a big, bulbous, brocaded, bullshooting joke whether viewed from the box seats behind home plate or way in the back row of the right field bleachers-but let me not get pulled into the alliterative traps in which Roth indulges himself by way of his narrator, one Word Smith. Through the pen of the almost ninety-year-old "Smitty," we read the sad and disturbing tale of how the Ruppert Mundys of the mythical and defunct Patriot League were forced to spend all of 1943 playing away games after their owners sold their home stadium to the War Department as an embarkation point for our brave soldiers. Is Smitty as insane as many others obviously find him? Did the Mundys really have a one-legged catcher, a one-armed center fielder, a 14-year-old second baseman and a dwarf as a relief pitcher? Just who really is the Babylonian former ace pitcher Gil Gamesh? Was there really a Communist plot to destroy America by first destroying baseball?
It is curiosity and determination to finish this too-long-by-a-third book that may keep you reading through to the end, I'm afraid I had to force myself through it. We certainly aren't supposed to like any of the characters, so that means the story better hold us. And while it's a great story with a good number of laughs, there are too many long-winded passages that just aren't as funny once you get the rhythm down-the satire is dulled by them, in fact. I submit that Roth knew this and simply didn't care: by 1973 when this book was published he had been a bestseller for over twenty years. It wouldn't surprise me at all if he had a Dickensian paid-by-the-word contract for this book. Additionally, there are the letters to Smitty in the Epilogue from publishers rejecting his manuscript of the Patriot League story, one of which says, "by and large the book seemed . . . to strain for its effects and to simplify for the sake of facile satiric comment the complex realities of American political and cultural life." Now while the complex realities of American political and cultural life can never be underestimated, Roth clearly knew the monster he created. And what fun for him to slap the Great American Novel title on it all!
I really enjoyed the first couple of hundred pages of this book, and I recommend it to those who are also students of baseball history (Roth weaves many real names and situations and speeches of old into his text) and aficionados of Roth. This is only my third Roth book, his earlier works PORTNOY'S COMPLAINT is one of my favorites of all time and GOODBYE, COLUMBUS is an entertaining first novel. I'm sorry I couldn't stay as excited about this one as it lumbered on, even if that was the point. Terrific concept, though.