(...) one of the motifs of Operation Shylock is narrator Roth’s ongoing attempt to establish the credibility of his own existence against that of the impostor Roth. “Up against reality,” says narrator Roth, “I had at my disposal the strongest weapon in anyone’s arsenal: my own reality.” That is also one of the themes of Eichmann in Jerusalem: the difficulty—and importance—of establishing the credibility of one’s own existence. Eichmann, says Arendt, had almost no sense of reality, no sense of right and wrong, apart from the opinion of others. His others, that is: the higher-ups in the Nazi hierarchy. And while Arendt is scorching on the subject of Eichmann’s conformity to his superiors’ views, she carries on, in good Rothian fashion, her own counterpoint to the problem of conformity. It is critical, she says, that as we form our own opinions about the world, we attend to the views of others about that world. Attending to those views, without getting lost in them, is the foundation of human judgment. The counterpoint of these two lines—Eichmann’s dissolution in the views of others, the necessity of attending to the views of others without getting lost in them—is the music of Eichmann in Jerusalem.