I think you have two choices when reading this book: either be utterly horrified, or take it as a succinct bit of honesty about sex. Which of these you choose will depend, in all likelihood, on whether you’re a woman or a man. Many women will see it as rank misogyny. I don’t begrudge them that belief. I happen to think, on the contrary, that it is an absolute masterpiece. It does for the sexual revolution what Roth’s American trilogy — American Pastoral, I Married a Communist, and The Human Stain — did for the rest of mid-to-late-twentieth-century American history: condense it down and focus its agonies on one man.
Here the representative for 20th-century America is David Kapesh. Others will have met him in Roth’s earlier novels, The Professor of Desire and The Breast ; I’ve not read those, so I can’t comment. In The Dying Animal, we meet Kapesh in his early seventies, a famous cultural critic who appears on public television every week, book in hand, white mane flowing and (one presumes) turtleneck up to his chin. He is also an enthusiastic hedonist. It seems as though every semester he picks one new student to seduce after classes are over — for sex, nothing more. This is just a meeting of flesh and flesh: everyone is aware of the game that everyone else is playing.
This contract alone leads into the book’s heart, which is a lecture on and a demonstration of what sex used to mean for someone of Kapesh’s generation, what it means now, what changed, and how much we’ve forgotten. In Kapesh’s youth, “heavy petting” was a stage one got to after endless courtship; anything more would have horrified his parents, had they known. Without going into detail (this is a family publication, after all), we take substantially more contact for granted. As Kapesh notes, today’s youth (I count myself in there, though maybe my youth ended on May 9) believe that absolute sexual freedom arrived along with the Declaration of Independence; we think it’s a fundamental human right, as natural as the water we drink. Kapesh reminds us that in order to move from the era of heavy petting to this sexual anarchy, sexual anarchists had to set fire to a lot of taboos: like anything else that we take for granted, today’s casual lifestyle was yesterday’s struggle.
During that struggle, Kapesh was an awestruck participant. He wasn’t young enough to take the struggle in stride and accept it as part of his being; he was a mature man, already a married college professor, who saw the revolution for what it was and decided to dive right in. He lost a wife and child during the battle, but he knew what he was getting into and knew what he’d be giving up.
When he gave it up, a lot of what passed for sexual certainty in the society was revealed to be hollow convention. Get married so that he could have unsatisfying but officially sanctioned sex with his wife, meanwhile yearning for the acres of supple flesh that attended his classes every semester; pretend that an omnivorous male could be locked away inside a socially respectable façade.
His son never forgives him. To prove that he’s so much more decent and moral than his father, he gets his girlfriend pregnant and promptly marries her. Tell her to get an abortion, Kapesh tells him. If she refuses, that’s not your problem — the sexual revolution made her a freestanding sexual being and it did the same to you. The son marries her anyway. When he goes on to have an affair a few children later, he has to endow that affair with social respectability: the girl is sweet and loving and intelligent and has wonderful parents. Kapesh can only stare with scorn: you’re trying to camouflage a transaction involving meat. Why pretend that you are anything other than you are? Why lacquer sex with the social respectability that my generation so feverishly cast off?
The son is devastated, but keeps returning to his father, whom he loathes. He needs to parade his respectability before his enemy, but at some level he probably also respects the choice that his father made. In this conflict between father and son, we have three generations of American sexual understanding: the father as a youth (sexual expectation: years of courtship followed by wedding followed by sex), father as grown man (the sexual revolution presents a world of limitless, dangerous possibility), and son as a grown man (trying to reassemble some sexual order after a generation of anarchy).
Into Kapesh’s life comes Consuela, a Cuban student born into the anarchy but standing outside of it. She is beautiful and (it’s important to the story) buxom, but she has kept aloof from the many men who desired her. She can take or leave Kapesh, and this fact drives him crazy. For once he needs control — needs to regain the order that he enthusiastically disposed of; to know that he can’t control her, and that some other man can take her away, sends him into spasms of jealousy. In one rather graphic scene, he throws away all his self-control and lets the anarchy destroy him. Consuela is the agent of his destruction, but stands hautily by while it happens.
All this in not much more than 100 large-print pages. It is the most brutally honest book about sex you will probably ever read. It is an unqualified masterpiece.