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Courtesy of my controlling father, Marshall and I have been living together for the last couple of years. Because of his profession, we’d managed to stay out of each other’s way. His age and respect for my father is what kept him from giving in to my flirtatious advances. Over the years, we’d managed not to cross that line, until that one slightly drunken night.

After John F. Kennedy's speech in front of the Hotel Texas in Fort Worth on November 22, 1963, he was greeted by, among others, an 11-year-old Benjamin Taylor and his mother waiting to shake his hand. Only a few hours later, Taylor's teacher called the class in from recess and, through tears, told them of the president's assassination. From there Taylor traces a path through the next 12 months, recalling the tumult as he saw everything he had once considered stable begin to grow more complex.

So begins Benjamin Taylor's Here We Are, the unvarnished portrait of his best friend and one of America's greatest writers. Needless to say, Philip Roth's place in the canon is secure, but what is less clear is what the man himself was like. In Here We Are, Benjamin Taylor's beautifully constructed memoir, we see him as a mortal man, experiencing the joys and sorrows of aging, reflecting on his own writing, and doing something we all love to do: passing the time in the company of his closest friend.

The story of Willa Cather is defined by a lifetime of determination, struggle, and gradual emergence. Some show their full powers early, yet Cather was the opposite—she took her time and transformed herself by stages. The writer who leapt to the forefront of American letters with O Pioneers! (1913), The Song of the Lark (1915), and My Ántonia (1918) was already well into middle age. Through years of provincial journalism in Nebraska, brief spells of teaching, and editorial work on magazines, she persevered in pursuit of the ultimate goal—literary immortality.