Doubling Down on the Art of Dying Review of Tito Perdue’s novel, “Philip”
Philip
Tito Perdue
Arktos, 2017
Each autobiographical novel conveys a writer’s hidden quest for his cryptic double. As a rule, the double always resides in the author’s close proximity. In the same vein a reader will fall in love with the author’s novel if he can detect in it bits and pieces of his own strayed-away double. In all
of his novels Tito Perdue’s lead character, Lee Pefley, mirrors not just the author’s own feelings of gloom and doom, but also bears witness of what he sees as the unstoppable death of the West. Although the lead character is Purdue’s own double, he wisely avoids the personal pronouns ‘me’ or ‘I’, never indulging in his own hidden ego trips. Instead, Purdue uses a gallery of characters from everyday life—characters that an average reader can easily identify with. Surprisingly, in his latest novel, Philip, we do not meet much of Purdue’s double, i.e. his doppelganger Lee Pefley, although, toward the end of the novel, Lee does briefly show up, his main role being to berate Philip on ars moriendi—the art of dying.
The hero of the novel, Philip, who is past the age of 30, is a well-educated, well-groomed, and a good-looking Southerner. He holds the enviable position of a supervisor in a subdivision of a company dealing with international trade. Most of Philip’s employees are women who swoon each time he walks by their cubicles and who would be willing to strip naked in public in order to secure a romance with their boss. Philip, however, is not a womanizer; nor is he, despite his Southern charm, a sex-obsessed macho man. He is not after women; they are after him. Philip is quite content, however, with his choice—a rather aged New York hooker well-versed in the art of caring for his biological needs and who never ever bothers to investigate his hidden transcendental thoughts. Read more











