Abstract

Despite different mediums and audiences, Philip Roth and Woody Allen share an ability to frustrate fans and incense critics with their depictions of women, Jews, and themselves. This article traces the critical responses to these three representations and each artist’s response to that reception, illustrating the intertextual enmity between the two that culminated in Allen’s bitter caricature of Roth in Deconstructing Harry (1997) and Roth’s vindictive response in The Humbling (2009).

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