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The Breast and The Professor of Desire take up the theme of the duality of restraint and passion, high-minded moral responsibility and sensuous desire. The Breast and The Professor of Desire are Roth's direct presentation of the struggles, defeats and triumphs of a man attempting to reconcile his morals with his lustful and adventuresome side.
In The Breast, David Alan Kepesh has for several years lived the quiet, sensible life of a lecture in comparative literature. But, to his surprise, Kepesh awakes on the morning of February 18, 1981 to find himself metamorphosed into a six-foot female breast His changed condition has made him both more susceptible to sensual delight than ever before and more demanding. His predicament is, of course, absurd, but it is neither imagined nor imaginary. His absurd situation is the real thing. He is trying to understand the cause and consequence of his victimization. The desperate Kepesh cries that "I will not be defeated if only I do not quit" He has the strong will to change his predicament.
In The Professor of Desire, Kepesh is also the main character. After Kepesh attends University, he proposes becoming a "rake among scholars, a scholar among rakes" and to follow the Byronic dictum of being "studious by day, dissolute by night." In this way, he intends to have the best of both worlds and to indulge in being rake and scholar alike. But Kepesh finds that he can indulge in one extreme only by restraining the other. He is cyclically either a scholar or a rake. Kepesh makes his way to the psychoanalyst, Dr. Klinger's couch to confess his mistake and to find relief from his suffering at the skirt of a woman. Kepesh tries to formulate a philosophy that will clarify the realities of intimacy and reconcile the old emotional conflicts. He begins to gain some insight into his own internal struggle between reason and sexual desire.
Roth allows Kepesh the consolations of literature. He proposes to use literature to confront life, not to seek refuge from it. At the end of The Breast, Kepesh devotes himself to listening to his Shakespeare records: Oliver playing Hamlet and Othello, Paul Scofield as Lear, Macbeth as performed by the Old Vic company. The narrative of The Breast concludes with a direct address that emphasizes this view: "You must change your life," the line of a famous poem by Rainer Maria Rilke. Kepesh uses it to sum up the meaning of what has happened to him. In The Professor of Desire, Kepesh emphasizes to his students that literature can teach "something of value about life in one of its most puzzling and maddening aspects." He will teach novels that deal with desire, he will give an account of his own erotic history, and he will confront the most puzzling aspect of his nature.
In conclusion, Roth is writing not only about the identity struggles of his character but also about the human condition-the transformations from innocence to experience, from idealism to disillusionment. In The Breast and The Professor of Desire, Roth carries his protagonist deeper into the experience of conflict than any of his other works. He also offers the protagonist greater consolation. Kepesh fully realizes the legitimate rewards of literature and finds a way to use it to gain a perspective on his life.
In The Breast, David Alan Kepesh has for several years lived the quiet, sensible life of a lecture in comparative literature. But, to his surprise, Kepesh awakes on the morning of February 18, 1981 to find himself metamorphosed into a six-foot female breast His changed condition has made him both more susceptible to sensual delight than ever before and more demanding. His predicament is, of course, absurd, but it is neither imagined nor imaginary. His absurd situation is the real thing. He is trying to understand the cause and consequence of his victimization. The desperate Kepesh cries that "I will not be defeated if only I do not quit" He has the strong will to change his predicament.
In The Professor of Desire, Kepesh is also the main character. After Kepesh attends University, he proposes becoming a "rake among scholars, a scholar among rakes" and to follow the Byronic dictum of being "studious by day, dissolute by night." In this way, he intends to have the best of both worlds and to indulge in being rake and scholar alike. But Kepesh finds that he can indulge in one extreme only by restraining the other. He is cyclically either a scholar or a rake. Kepesh makes his way to the psychoanalyst, Dr. Klinger's couch to confess his mistake and to find relief from his suffering at the skirt of a woman. Kepesh tries to formulate a philosophy that will clarify the realities of intimacy and reconcile the old emotional conflicts. He begins to gain some insight into his own internal struggle between reason and sexual desire.
Roth allows Kepesh the consolations of literature. He proposes to use literature to confront life, not to seek refuge from it. At the end of The Breast, Kepesh devotes himself to listening to his Shakespeare records: Oliver playing Hamlet and Othello, Paul Scofield as Lear, Macbeth as performed by the Old Vic company. The narrative of The Breast concludes with a direct address that emphasizes this view: "You must change your life," the line of a famous poem by Rainer Maria Rilke. Kepesh uses it to sum up the meaning of what has happened to him. In The Professor of Desire, Kepesh emphasizes to his students that literature can teach "something of value about life in one of its most puzzling and maddening aspects." He will teach novels that deal with desire, he will give an account of his own erotic history, and he will confront the most puzzling aspect of his nature.
In conclusion, Roth is writing not only about the identity struggles of his character but also about the human condition-the transformations from innocence to experience, from idealism to disillusionment. In The Breast and The Professor of Desire, Roth carries his protagonist deeper into the experience of conflict than any of his other works. He also offers the protagonist greater consolation. Kepesh fully realizes the legitimate rewards of literature and finds a way to use it to gain a perspective on his life.
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