An agent provocateur of literary fiction, Philip Roth captivated and scandalized America with his salacious novel <I>Portnoy's Complaint</I> in 1969 and went on to enjoy a prolific career mercilessly deconstructing both the tradeoffs of achieving the American Dream and its dissolution. The New Jersey-born Roth published his first stories while at the University of Chicago and garnered national attention in 1959 with the novella <I>Goodbye, Columbus</I>. But it would be his fourth outing a decade later, <I>Portnoy's Complaint</I>, that would set tongues wagging with its frank, funny portrayal of a young Jewish man rebelling against the conditioned guilt of his culture via rampant autoeroticism and sexual adventures with <I>goyim</I>. In the 1970s, Roth introduced a fictive doppelganger, Zuckerman, who would wearily bear Roth's own struggles with fame, meaning and mortality in a series of novels that extended through his career. He returned often to his Newark roots, both with unorthodox memoirs <I>The Facts</I> and <I>Patrimony</i> and novels interweaving himself (and alternatively Zuckerman) with a rotation of fictional versions of real people, as in his Pulitzer-winning 1997 novel <I>American Pastoral</I> and his ominous 2004 imagining of a Nazified U.S., <I>The Plot Against America</I>. He retired Zuckerman in 2007 with the novel <I>Exit Ghost</I>. A winner of nearly every literary accolade available, Roth not only brought the internecine debates of Jewish identity into the mainstream, he made himself a veritable novelist laureate of the U.S. and along the way pushed the very boundaries of his medium.