Nine hundred kilometres south, early in the evening, after a warm, overcast Sunday I had spent at Lakeside, I was on a train heading to my home in the northern suburbs. During the afternoon, in between sporting events, I had taken a book to the sun-drenched lawn high up behind the bleachers (plastic bucket seats these days, powerfully sprung so that they won’t even support your bag of running gear without flipping up and flushing it onto the dusty concrete below). The novel was Philip Roth’s Nemesis (Jonathan Cape, 2010). The grandfather, Sam Cantor, had come alone to America in the 1880s as an immigrant child from a Jewish village in Polish Galicia. His fearlessness had been learned in the Newark streets, where his nose had been broken more than once in fights with anti-Semitic gangs. The violent aggression against Jews that was commonplace in the city during his slum boyhood did much to form his view of life and his grandson’s view in turn. He encouraged the grandson to stand up...
In a 2017 interview Tom Stoppard recalled the crowded solitude of his writer’s block: ‘ … there are so many things that ought to be written about, and could be written about, that the contents of my head appear to be mostly white noise, a buzz of all the possible things’. While not making any comparisons with the playwright, I can empathise. Stoppard : ‘I’m a bit oversensitive about the ideal conditions that I desire or require for doing proper work. They tend towards the extreme, isolation. It’s as though I need to be the only person in the house before I can completely let go of everything around me’. * (Quotes from obituary published in The Times last week and reprinted in The Australian on 5 December.)