Philip Roth wrote a novella with a title in the form
of a farewell address: Goodbye, Columbus.
Neil Klugman, the narrator, begins a relationship with
Brenda Patimkin. The Patimkins are wealthier than Neil’s family. He lives with
his aunt in Newark while Brenda’s family lives in Short Hills.
The story mentions Kostelanetz and Mantovani. Song
titles such as “Night and Day,” “I Get a Kick out of You,” “Get Me to the
Church on Time” as well as the musical My Fair Lady appear in the text. It
is only in the second half of the novella that music gains more textual
territory.
However, the most wonderful passage on musical
expression can be read in the first half of the story. And it doesn’t concern
any existing song. Nor does it relate to a musical genre. Neil and Brenda, our
two young lovers, learn to express their feelings for one another in an
exchange of improvised lines that is both timid and playful. The author uses
the word “dithyrambs” and a string of adjectives that could be used to describe
the relationship as a whole: “hesitant, clever, nervous, gentle.” This creative
moment seems to breathe life into feelings which had not quite manifested
themselves in the early stages of romance. Musical expression is an act of
self-discovery.
Most of the musical references come from Ron’s
character, Brenda’s older brother. When he engages Neil in conversation, he
immediately mentions his record collection (Kostelanetz and Mantovani). He asks
his sister’s boyfriend which conductor he prefers. It’s a tie. Ron’s musical
ignorance and Neil’s snobbish irony are exposed at once. As readers, we tend to
side with the narrator. When Ron attempts to sing along with Andre
Kostelanetz’s rendition of “Night and Day,” Neil can’t recognize the tune.
The effect is comical but there is something deeper
going on. The subject of music emerges at a time when the older brother’s life
is about to change forever. As limited as his knowledge is, Ron is searching
for something in the music. In fact, his third musical reference concerns a
mystery record which will haunt Neil for a long time. His first partial
encounter with the record inspires a strange dream. Later, as Ron tries to bond
with him and invites him to his room, the narrator hears the whole affair and
gives a lengthy description.
Musical references often underline Neil’s fears of
inadequacy. In his mind, Ron’s athletic stature is that of a giant and the
music Ron listens to aligns with that perception. Of course, the
“semi-classical” conductors are about excess but it is hard to separate this
reasonably objective comment from Neil’s perception. Thus, the aforementioned
interpretation of “Night and Day” “[lets] several thousand singing violins
loose.” The lyrical onslaught echoes the domestic battleground which the Patimkin
household has become. Neil feels crushed and the fact that Ron looks “colossal”
on his bed doesn’t alleviate the feeling.
The narrator’s awe is again on display as he watches
Carlota, the Patimkins’ maid, cook and sing at the same time. Neil marvels at
the ease with which she seems to connect her actions to “I Get a Kick out of
You.” Perhaps, music is a strategy for self-preservation. The guest feels a
spiritual bond between himself and the maid, despite the fact that she does not
return his greeting.
Apart from the fact that they were popular numbers, it
is hard to tell whether or not the rat pack titles have a special significance.
“Get Me to the Church on Time” from My Fair Lady is a different matter. The
tune, much like Mr. Patimkin’s hands which rest on each of the lovebirds,
unites Neil, Brenda and her father for a brief moment. Before Brenda answers
her father’s question “You kids having a good time?”, the trio is “sort of
swaying” to the Broadway song.
Roth, Philip. Goodbye, Columbus, Bantam Books,
1969, pp. 1-97.
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