In the nearly five and a half decades since Philip Roth published his first novel “Goodbye, Columbus,” his reputation for misogyny has become as fixed as his reputation for brilliance. The feminist writer Vivian Gornick is perhaps his fiercest critic; as she wrote in Harper’s in 2008, “If in Bellow misogyny was like seeping bile, in Roth it was lava pouring forth from a volcano.”
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