Reception
Roth's long-time professional acquaintance John Updike gave the novel a famously caustic review in The New Yorker. Updike found the book "an orgy of argumentation...this hard-pressed reviewer was reminded not only of Shaw but of Hamlet, which also has too many characters, numerous long speeches, and a vacillating, maddening hero who in the end shows the right stuff." Updike closed with the admonition, "It should be read by anyone who cares about (1) Israel and its repercussions, (2) the development of the postmodern, deconstruction-mInded novel, (3) Philip Roth." In The New York Times Book Review, novelist and poet D.M. Thomas called the novel "an impassioned quarrel...Despite the seriousness of its theme, the book carries the feeling of creative joy. One feels that Roth feels that he's let rip."
The novel appears to have grown in stature since publication. In 2006, when New York Times Book Review editor Sam Tanenhaus mailed a short letter to "a couple of hundred prominent writers, critics, editors," asking that they identify the best work of American fiction published in the preceding quarter-century, several respondents named Operation Shylock. (The eventual winner was Toni Morrison's 1987 Beloved.) Reporting upon Roth's reception of the 2011 Man Booker International Prize, critic Jonathan Derbyshire of the New Statesman wrote, "The judging panel make the inevitable reference in their summing-up to Roth's extraordinary fecundity over the past 15 years or so, at a stage in his life when 'most novelists are in decline'. The most notable fruits of Roth's Indian summer, 1995's 'Sabbath's Theater' and 'American Pastoral', published two years later, are certainly among his most luminous achievements. But two slightly earlier novels stand out for me, both of them hectically metafictional works partly set in Israel: 'The Counterlife' (1986) and 'Operation Shylock.'"
Read more about this topic: Operation Shylock
Famous quotes containing the word reception:
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)
“I gave a speech in Omaha. After the speech I went to a reception elsewhere in town. A sweet old lady came up to me, put her gloved hand in mine, and said, I hear you spoke here tonight. Oh, it was nothing, I replied modestly. Yes, the little old lady nodded, thats what I heard.”
—Gerald R. Ford (b. 1913)
“Aesthetic emotion puts man in a state favorable to the reception of erotic emotion.... Art is the accomplice of love. Take love away and there is no longer art.”
—Rémy De Gourmont (18581915)