An interesting article at The Guardian suggests that the late Philip Roth had a firm fix on the meaning of literary greatness—awards. Lots and lots of awards. The Guardian’s subtitle says it all:
Correspondence found in archives shows how ‘pushy’ novelist used ‘collusion, networking and back-scratching’ to win literary awards
In other words, his many awards reflected not the quality of his writing but the ethics-free tenaciousness of his self-promotion. The author of the article writes:
It might be assumed that his work spoke for itself in securing these plaudits, but previously unpublished letters reveal he was, in fact, a master of self-promotion, networking and mutual back-scratching.
And later, a biographer of Roth’s adds:
It was a bit disillusioning for me, as I thought – naively – that the great writer cared only for art, its integrity, its austere demands.
The obvious word that nobody in the article seems willing to use is dishonest. The simple fact that the activities of Roth and any number of editors and critics involved in these quid pro quos remained, for all intents and purposes, a closely kept secret until now, suggests that they all knew better. Why hide (or demurely fail to mention) something that one needn’t be ashamed of?
Of course, Dalya Alberger, the author of the Guardian article, quotes Berlinerblau as saying that Roth’s manipulations were “all the more surprising because Roth was such ‘a magnificent writer’”. But was he really? Doesn’t all this bring such claims into question? Is it any surprise that Berlinerblau would say this given that his forthcoming book is predicated on Roth’s “greatness”? (His book, The Philip Roth We Don’t Know: Sex, Race and Autobiography, is slated to be published by the University of Virginia Press this coming September.) So it’s fair to ask whether Berlinerblau’s praise for Roth might also be self-serving and dishonest. And given that many of those who colluded with Roth are probably still in the publishing industry, the argument could be made that it’s in Berlinerblau’s interest to rationalize his and everyone’s behavior as “in the service of a nevertheless great writer”. Why would Berlinerblue risk his connections by dissing Roth? Unfortunately, it’s fair to question any estimation of Roth (along with the currency of all those awards):
Berlinerblau also pointed to an extensive correspondence with a literary critic, which includes discussions about literature: “But mostly they’re talking about how they can help each other with this award, this position… It made me a little suspicious about the publishing world. There’s a lot of networking.”
In one letter, that critic – a close friend – congratulated Roth on receiving a prestigious literary prize, when he had actually headed the committee making the decision. Roth, in turn, helped him. The critic wrote to Roth: “I am also applying for another fellowship… So, may I ask you to dust off the letter you recently sent and send a version of it again.”
If you ask me, the damage to Roth’s literary reputation can’t be overstated (or the damage to the whole institution of literary prizes and awards); but it’s surely something all those involved in the industry would rather gloss over as “the game of publishing” (see below).
Sure, anyone can point to Roth’s readership and to the legion’s of readers who swear by him, but one can do the same for Danielle Steele and she (apparently for lack of having friends in the right places) didn’t win the Pulitzer. But why did Roth win the Pulitzer? Was it for the quality of his writing or because he effectively bribed the right people?
Roth understood, as any grifter and flim-flam artist understands, that if you tell enough people that your product is great (and in this case that you’re a great writer) they will read and treat you like a great writer. This trick of mass persuasion is especially pertinent in today’s political environment. The imprimatur of an award committee is little different than the sort of “trusted sources” that are used to manipulate the opinions of social media users. From the Scientific American article above, the same caution applies to any and all “Award Committees” including the Pulitzer:
[G]iven the lack of transparency, the privatized nature of these models, and commercial interests to over-claim or downplay their effectiveness, we must remain cautious in our conclusions.
Scientific American: Psychological Weapons of Mass Persuasion
So, what I’m getting at is this: How much of Roth’s readership like and admire him because he’s a great writer and how many like and admire him because they were told he was a great writer? Time will tell. And you have to wonder how many biographers and critics, like Harold Bloom, were taken in more by his reputation than his writing—and should have known better? Each generation is notoriously bad at distinguishing their genuinely great artists from their mediocre ones and that’s because the genius of the mediocre artist is, precisely, in their ability to speak to and celebrate the mediocrity of their era—which is why when the artist’s given era ends, so does their reputation. I confess that I haven’t read all that much of Roth’s writing, but what I have, I found mediocre. I expect we will see more estimations of Roth like this one. And those, we can be much more certain, are actually honest ones.
I have never submitted my writing, poetry or otherwise, to any kind of prize or award committee for all the reasons above and more. I don’t begrudge anyone who does. As Roth demonstrated, it’s a great way to shape your reputation and further your career. In certain respects, I’m the fool for not pursuing the same strategy. But the next time you come in second, third, or forty-third, it may not be because your writing isn’t up to snuff, but because the fix was in. The judge needed a letter of recommendation from the winning author and only a fool wouldn’t prefer and further their own career over something as trivial as your career.
All that said, graft, corruption and dishonesty in the publishing industry is nothing new (though hopefully limited). It’s just gratifying to see it exposed despite Roth’s wish (as suggested by The Guardian) to have the evidence destroyed after his death. The next time you read something like this:
Another leading scholar, Ira Nadel, author of Philip Roth: A Counterlife, said: “It’s absolutely true. He was a great self-promoter from the beginning. I’m not sure he didn’t need to do it. He played the game, the game of publishing. He knew self-promotion was the key to keeping your name out there and getting your books both published and sold.”
Ask yourself what leading scholar Ira Nadel got out of it. Why is he a “leading scholar”? Whose back did he scratch? Who scratched Nadel’s back? After all, as Nadel (the “leading scholar”) says: It’s all about getting your books published and sold.
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