One conclusion from reading The Humbling could be that when you can write with simple beauty, say painfully wise things about mortality and create a plausible enough main character, you cannot fail completely. However, the problem with this book — and one that is more or less unprecedented with Roth — is that almost everything else is wrong. The novella’s shortness seems to be the main issue. Perhaps Roth, in the many passages where big events are either described in a phrase or ignored altogether, is nodding to the Shakespearian career of his main character. Just as Shakespeare compresses weeks or even years into moments, Roth squeezes the Axlers’ break up into a statement. That works passably, partly because of the ex-wife’s irrelevance to events (she might better have been left out entirely), but it is hard to accept the other elisions. Pegeen, the new love, turns up in Axler’s life and repairs to his bed with no real explanation for why she has stopped being a lesbian and started coveting a man she last saw 20 years earlier. As presented, without build-up, it seems improbable. Later, when the couple decide to add sparkle to their sex-life, it seems absurd that Axler, a hulking pensioner, can, with just a few bland comments, convince a pretty stranger in her twenties that it is a good idea to get into his car and then have a sado-masochistic threesome.
It seems like wishful thinking; it also seems to point to an inchoate work waiting to be fleshed-out (and, in places, rethought). In The Humbling Roth pays little heed to the nuances of human interaction, so that, in contrast to last year’s brilliant Indignation, with its affecting detail and epic sadness, this one feels lumpen, inert. By leaving out too much, Roth leaves us outside too.
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