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I Married a Communist is the story of the rise and fall of Ira Ringold, a big American roughneck who begins life as a teenage ditch-digger in 1930s Newark, becomes a big-time 1940s radio star, and is destroyed, as both a performer and a man, in the McCarthy witchhunt of the 1950s.
In his heyday as a star—and as a zealous, bullying supporter of "progressive" political causes—Ira marries Hollywood's beloved silent-film star, Eve Frame. Their glamorous honeymoon in her Manhattan townhouse is shortlived, however, and it is the publication of Eve's scandalous bestselling expos� that identifies him as "an American taking his orders from Moscow."
In this story of cruelty, betrayal, and revenge spilling over into the public arena from their origins in Ira's turbulent personal life, Philip Roth—who Commonweal calls the "master chronicler of the American twentieth century—has written a brilliant fictional protrayal of that treacherous postwar epoch when the anti-Communist fever not only infected national politics but traumatized the intimate, innermost lives of friends and families, husbands and wives, parents and children.
- Sales Rank: #54608 in Books
- Color: White
- Published on: 1999-11-02
- Released on: 1999-11-02
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .68" w x 5.17" l,
- Binding: Paperback
- 323 pages
Amazon.com Review
Iron Rinn (n� Ira Ringold) is a self-educated radio actor, married to a spoilt, rags-to-riches beauty, silent-film star Eve Frame (n�e Chave Fromkin). He is a Communist, and a "sucker for suffering," locked into the cycle of violence from which he has emerged. She has risen by assiduous imitation of what is "classy"--which seems to include a wide swathe of anti-Semitism--and ultimately denounces her husband as a Soviet spook. And who would be the narrator of this McCarthy-era meltdown? None other than Philip Roth's longtime alter ego, Nathan Zuckerman, who learns the full tragedy several decades later, owing to a chance encounter with Ira's brother: "I'm the only person living who knows Ira's story," 90-year-old Murray Ringold tells Nathan, "you're the only person still living who cares about it."
Characteristically, Nathan also discovers that his own story was bound up with the blacklistings and ruined careers of the immediate postwar period. It seems that he had been tainted by his association with the Ringolds--Murray was in fact his high-school teacher--and was denied the Fulbright scholarship he deserved. "They had you down for Ira's nephew," Murray tells Nathan. "The FBI didn't always get everything right." Roth's acerbic style and keen eye for emotional detail goes to the heart of this moment of high tragedy in which the American dream was damaged beyond repair. --Lisa Jardine
From Publishers Weekly
Disconcerting echoes of Roth's relationship with Claire Bloom, as revealed in her memoir, Leaving the Doll's House, haunt Roth's angry but oddly inert 23rd novel. As in American Pastoral, Roth again deals with the Newark of his youth, and with the sons of Jewish immigrants to whom America has given opportunity and even riches?and how they are swept off course by the forces of history. Roth's old alter ego, Nathan Zuckerman, narrates the story of Ira Ringold, aka Iron Rinn, a supremely idealistic political radical and celebrated radio star of the 1950s who is blacklisted and brought to ruin when his wife, Eva Frame (a self-hating Jewish actress born Chava Fromkin), writes an expose called I Married A Communist. The impetus for Eva's treacherous act is Ira's insistence that she evict her 24-year-old daughter from their house; the resemblance to Bloom's revelations of Roth's similar demand is too close to miss, and Roth's shrill belaboring of the issue seems a thinly disguised vendetta. Even high-pitched scenes of family conflict don't bring the novel to life. One problem is that the flat flashback narration shared between the 64-year-old Nathan and Ira's 90-year-old brother, Murray, is stultifyingly dull. Some fine Roth touches do appear: his evocation of the Depression years through the McCarthy era has clarity and vigor. But Ira's aggressively boorish behavior as he struggles with his conscience over having abandoned his Marxist ideals to assume a bourgeois lifestyle is never credible, and his turgid ideological rants against the American government are jackhammers of repetitious invective. In addition, the depiction of an adolescent Nathan as a precocious writer and social philosopher and the saintly Murray's infallible memory of long conversations with Ira?even between Ira and Eva in bed?challenge the reader's credulity. For those who lived through the years Roth evokes, this novel will have some resonance. For others, its belligerent tone and lack of dramatic urgency will be a turn-off. 150,000 first printing; $150,000 ad/promo.
Copyright 1998 Reed Business Information, Inc.
From Library Journal
It is the McCarthy era, and Iron Rinn, star of the popular radio show The Free and the Brave, is married to glamorous film actress Eve Frame (reputedly born Chava Frumkin in Brooklyn). He's also the brother of Nathan Zuckerman's high school English teacher, Murray Ringold, and a committed Communist. Reminiscing with Murray, Nathan recalls his youthful involvement with Iron, slowly uncovering the source of Iron's beliefs, his dark rages, and the collapse of his marriage, which ends with Eve's publishing the seriously damaging expose I Married a Communist. Occasionally, Roth's tone is hectoring?we feel that we are getting a history lesson from, well, a high school teacher?but he also tells a riveting story, and the writing is more heartfelt, less guarded and cynical, than one might expect. In fact, Roth seems to have drawn on his own marital woes when writing this novel. Remember Claire Bloom complaining in Leaving a Doll's House that Roth insisted she throw her daughter out of the house? Iron asks the same of Eve, whose daughter (a monster here) wrecks their marriage. And Nathan pointedly observes, "People don't like seeing exposes on the best sellers list that falsely denounce them." The murderous secret revealed at the end comes as a good surprise. For all collections.
-?Barbara Hoffert, "Library Journal"
Copyright 1998 Reed Business Information, Inc.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Three Stars
By Amazon Customer
Great first half and then sort of dies. Not the best from Roth...
40 of 47 people found the following review helpful.
The Zuckerman Project II--A Superb New Novel
By Paul Frandano
"All happy families resemble one another, but each unhappy family is unhappy in its own way." In many respects, the two most recent novels of Philip Roth represent a long meditation on Tolstoi's famous observation and suggest a common wellspring of the unhappy family narratives. Roth goes as far as to put Tolstoi's words into the mouth of Murray Ringold, the high school English teacher who taught Roth's alter ego, Nathan Zuckerman, the virtues of "cri-ti-cal thinking" and who, near the end of his life some fifty years later, unfolds the fate of his brother Ira, the radio personality "Iron Rinn" and young Nathan's boyhood mentor. Forget what you have read about I Married a Communist as Roth's roman a clef payback for Claire Bloom's recent memoire of her difficult life with the novelist. It is much, much more and is of a thematic and emotional fabric with Roth's great American Pastoral. Roth's project, of which this is the second installment, now seems to be "Nathan Zuckerman's America," thickly textured stories of lives collectively deranged and rendered dysfunctional by America and its political demons, now the MacCarthy era, Red-hunting, and the blacklist. Along the way we have countless carefully observed digressions on, among other things, taxidermy, how to make "literature," New Jersey's geology, the power of "the word," the triumph of lowbrow, and (of course) Newark in the 'forties and 'fifties. One remains in awe of Roth's undiminished ability to mine his own experience, augmented by prodigious research, to turn out superb, universal novels like I Married a Communist. Is he our greatest novelist? Consider the oeuvre--Portnoy, The Zuckerman tetralogy (which includes the magical The Ghost Writer), The Counterlife, Sabbath's Theater, American Pastoral, and now this--and compare his accomplishment to that of any living American writer. It isn't even close.
0 of 0 people found the following review helpful.
Easy read
By Sonny
Typical Roth
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