Before and After

Far to Go by Alison Pick

Headline Review 2011

The List by Martin Fletcher

Thomas Dunne Books 2011

In one way it’s curious that Anne Frank’s diary has become by far the most pre- eminent Holocaust text, because it is also the most oblique. Its power emanates from something never seen directly by its writer. Since the focus is primarily on the claustrophobic world of the secret annexe where the Dutch Frank family and their friends hid from the Nazis, there is a constant tension with what we as readers know about events taking place in the world outside, and what will happen in the future. We understand that all the daily indignities, deprivations and fear Anne describes were in vain — the Franks would be discovered and deported to Bergen-Belsen.

The massive literature which has blossomed since the diary’s first publication in 1947 has told us what Anne could only speculate about — laying bare the monstrosities of the Holocaust in chilling detail. The shootings, starvings, gassings, burnings, beatings and torture, the unbearable suffering and unimaginable cruelty. But where do we go once horror and pity have been utterly exhausted? The next chapter, at least for some writers, is a move back to the kind of obliqueness achieved by Anne Frank. To the before and the afterwards, to the scars of the survivors, to the ripples cast outward and onward. Two recent novels tackle the events from opposite chronological directions — one starting with the prelude to the war, and the other the fall-out from it. It’s an oblique approach which, in the right hands, has the quiet power to disturb. Read more

The Origin of Violence

The Origin of Violence

Fabrice Humbert

Serpent’s Tail 2011

The Origin of Violence (L’Origine de la Violence), the author’s third novel and the first to be translated into English, was swiftly extolled by the French press as a ‘great novel’ and a ‘revelation’. The novel won Le Prix Renaudot du Livre de Poche (the Prix Renaudot paperback award), a French literary award created in 1926 as a corollary of the Prix Goncourt. With the novel the author is also the first winner of the Prix Orange du Livre, the first literary award to involve web users throughout the award process. His latest novel, La Fortune de Sila (Sila’s Luck; Le Passage, 2010), has also been received with great acclaim, winning the Prix Jean-Jacques Rousseau, as well as Le Grand Prix RTL-Lire. Read more

Misreading Roth

Is The Controversy that Follows Philip Roth Justified?




Why does controversy seem to follow Philip Roth around? His first book, Goodbye, Columbus, touched off a riot of a reaction in the Jewish- American community when it was published in 1959. Roth, his detractors said, went out of his way to depict his fictional suburban Jews in an unpleasant light, a portrayal that would only give succour to antisemites. Ten years later, in 1969, Portnoy’s Complaint somehow scandalised an America that had witnessed a shocking number of political assassinations, watched nightly the televised carnage of Vietnam, and feared the revolutionaries that seemed to be taking over its cities. (To be fair, most Americans had never before read a depiction of an adolescent masturbating with a piece of liver.) None of the scandals that followed ever reached the heights of these first two, but Roth has, despite writing within a culture that seems to have less and less time for the printed word, shown a consistent talent for making headlines.
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A New Voice for Israel

by Jeremy Ben-Ami

Palgrave Macmillan. 2011

Jeremy Ben-Ami is a first rate political operator. In four short years he has made J Street a $5 million organisation and successfully built a Washington power base in opposition to the AIPAC juggernaut and the rest of the so called ‘pro-Israel’ lobby. With its mantra of ‘Pro-Israel, Pro-Peace’, J Street funds electoral battles, lobbies Congress and attempts to reframe the terms of debate. It has also spawned international imitators such as the predominantly French JCall and the recent UK start-up Yachad. Unfortunately Ben Ami’s skills as a theorist do not match his organisational success. A New Voice for Israel (subtitled ‘Fighting for the Survival of the Jewish Nation’) proves insufficient to jump-start a renewed peacemaking effort; his preference for platitudes over difficult questions leaves the book an exercise in nostalgia rather than an effective call to arms.
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The Demon’s Bedroom: Yiddish Literature and the Early Modern

by Jeremy Dauber

Yale University Press, 2010

If the suggestive title of Jeremy Dauber’s In the Demon’s Bedroom attracts the attention of the casual passerby, it will have done more than satisfy the book’s author. Rather, it will have proven one of the book’s primary claims:a writer knows how to pique his readers’ interest. Moreover, an author knows how to anticipate his readers’ initial interpretive leap and, subsequently, how to prevent grave misunderstandings. Lest the reader think Dauber is an author of supernatural pulp fiction, he appends the subtitle:Yiddish Literature and the Early Modern. As the subtitle clarifies, Dauber’s subjects are those Yiddish authors of Central and Eastern Europe whose published works appeared between 1500 and 1700. And, just like Dauber himself, these are authors who invite readers into their demonic textual lairs in order to teach specific lessons. Read more

Sarah Gliddens’ How to Understand Israel in 60 Days or Less

Vertigo/DC Comics, 2010

‘I’m waiting for the scenery to look more like how I’d imagined Israel and less like rural Pennsylvania,’ thinks Sarah Glidden, as she stares from her bus window at the plain, flat landscape on her ride north from Ben Gurion airport. Combining light-hearted humour with both the harsh and mundane realities of Israel, this scene is representative of her graphic novel, How to Understand Israel in Sixty Days or Less, the award-winning comic artist’s first book.

The memoir takes place over several weeks on the author’s first trip to the country. Twenty-something Glidden, a self-declared liberal who is pro-Palestinian and critical of Israel, and who has a non-Jewish boyfriend and few Jewish friends, decides to get to the bottom of the Arab/Israeli conflict by going on the free Birthright trip offered to young Jews who have never before been to the country. She expects to be critical of the programme’s ‘propaganda’ and, once there, does not disappoint herself: she repeatedly questions whether Israel had the right to take land from the Palestinians and Bedouins, and probes the real meanings behind nationalist myths like Masada. But soon her strict liberal outlook starts to crumble. She finds herself falling for Israel, or elements of it: its own left-wingers, its compelling history , the feeling of belonging. Read more

The Memory Chalet

By Tony Judt

William Heinemann, 2010

The death of the historian and essayist Tony Judt in August 2010 attracted a great deal of media attention. Much of it was dedicated to his journalistic writings on Israel, including the first three paragraphs of the obituary in The Daily Telegraph, five paragraphs in the obituary in the New York Times and three paragraphs in Geoffrey Wheatcroft’s piece on Judt in The Guardian. Most extraordinary of all, the BBC News website dedicated almost its entire news story about his death to his views on Israel.

This is simply bizarre and distorts Judt’s achievements as one of the outstanding historians of his generation. It is true that Judt wrote a series of polemical articles about Israel, mostly for The New York Review of Books, The New Republic, The Nation and The New York Times and that these did receive widespread media coverage, especially in the States. However, most of these articles were written over just four years, between 2002-06, with a couple more op-ed pieces for The New York Times in the last year of his life. These coincided with a series of polemical (and equally fashionable) articles attacking Bush’s foreign policy, especially the War on Terror and the invasion of Iraq. But this was only a tiny period of Judt’s career. It was hardly the main focus of his work even at the time, when he was completing his most famous book, Postwar (2005) and writing several important essays on social democracy and modern European memory. And without being particularly disrespectful to Judt, his writings on Israel were hardly very original or interesting, and pale beside the importance of the rest of his writings in recent years.That they caused such a stir reflects more on the strange state of the Anglo-American Left than it does on Judt’s career.

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Radical Now?

Radical Judaism:

Rethinking God & tradition

By Arthur Green

Yale University Press, 2010

Everything is God:

The Radical Path of Nondual Judaism

By Jay Michaelson

Shambhala Publications, 2009

What does it mean to be radical? In the context of religion, the term can conjure up images of extremism, violence and fundamentalism (as in ‘Radical Islam’), often through strict adherence to orthodox norms. But to be radical is paradoxically both to depart and return—to depart from conventional or accepted forms, and to return to something essential, the ‘root’ of an ideology or philosophy.

What then would ‘Radical Judaism’ be? Perhaps the gun-toting hilltop nationalism of the Settlement movement? Or the ultra-Orthodoxies of Stamford Hill or Mea Sharim? Or could it be something altogether non-Orthodox, a return to a perceived essence prior to or beyond those outer forms and beliefs?

Two recent books that emphasise their radical credentials are Radical Judaism: Rethinking God & Tradition, by Arthur Green, and Everything is God: The Radical Path of Nondual Judaism, by Jay Michaelson—and they have far more in common than merely their titles. Michaelson, a scholar and activist who writes on spirituality, Judaism, sexuality and law, and Green, rector of the Rabbinical School at Hebrew College Boston and a major scholar of kabbalistic and Chassidic thought, both eschew conventional conceptions of a personal God who is outside of creation and intervenes in the world, in favour of a more mystical—yet immanent and accessible—Oneness.

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Bridging the Two Cultures

Ernst Cassirer: The Last Philosopher of Culture

by Edward Skidelsky

Princeton University Press

Sitting on the judging panel for this year’s Wingate Literary prize, I noticed several patterns emerging. One was the length of most of the entries; it seems that following the model of the 37 volume Babylonian Talmud, many Jewish authors cannot seem to express themselves in less than 600 pages. Another is their secular bias: while there is a proliferation of American Jewish books on Judaism as religion, UK Jewish writers are more likely to steer clear, preferring the safety of Jewishness as culture, warm families, and an ever decreasing Yiddish vocabulary.

The overwhelming trend however, is of an abundance of books dealing either with Israel or the Holocaust/Second World War era. The focus on these two areas is hardly surprising; they continue to be the foci of Jewish identity for a large numberof Jews. It is, however, disappointing that there is not more focus on other aspects of Jewishness. A Judaism that is rooted in the memory of the Shoah and a connection with Israel holds little promise for survival and renewal, at least for those of us in the diaspora. Is there no space for Jewish philosophy, religion and culture, for a Judaism of ideas rather than a Judaism of survival? Read more

Major Farran’s Hat; Murder, Scandal and Britain’s War Against Jewish Terrorism 1945-1948

By David Cesarani

William Heinemann, March 2009, £20.00

On the evening of 6 May 1947 Alexander Rubowitz left his parents’ home in Jerusalem and never returned. Rubowitz was 16 at the time, and a member of LEHI (Fighters for the Freedom of Israel), the smallest and most ardent underground organisation fighting against the British Mandate in Palestine. Commonly referred to by the British as ‘The Stern Gang’, LEHI specialised in acts of terrorism, usually in defiance of the Jewish Agency, which led the Zionist struggle for independence. It later transpired that Rubowitz had been abducted by British  officers, serving in the Special Air Service (SAS), which led the counter-terrorist offensive. One of them, Major Roy Farran, admitted that he killed Rubowitz in the course of his interrogation, by smashing a rock against his head. The body was never found.
Those were violent days in Palestine. Arabs, Jews and the British attacked each other with varying degrees of maliciousness, always supposedly for patriotic purposes. Hence the abduction and killing of Rubowitz are hardly worth more than a footnote in the history of those dramatic times. But both the young Zionist militant and his British assassin became mythological heroes, which gives their story special significance and lifts it above the chronology of routine violence. Read more

A Designated Man

By Moris Farhi

Telegram Books, March 2009, £12.99

In a lecture at Harvard in 1967, Jorge Luis Borges mourned the passing of the epic, a form he loved for its fusion of music and narration and its heroic breadth. In contrast to the myopic and introverted modern novel, it offered a ‘pattern for all men’ — something that we in the contemporary world hungered for just as much as the ancients.
In A Designated Man, set on the fictitious island of Skender, Moris Farhi gives us a darker, starker version of the same struggle we saw in his last novel, Young Turk; again, a multi-ethnic society is in distress. Though graced with fertile soil and a long, distinguished history, Skender is in the grip of what is known locally as the Law. First introduced several centuries earlier, and justified by a rigid concept of honour, it gives its men no choice but to surrender their lives to blood feuds.
The Law has been so successful that it now allows clans that have had all their male feudists wiped out to appoint women in their stead. Any woman who agrees must erase all trace of her femininity thereafter. Any one who resists the Law’s fundamentalist logic can expect a harsh response from Toma, the Law’s chief enforcer, who is responsible for the training and indoctrination of young feudists and also acts as agents for the faceless Gospodins, the mainland clan that has been slowly and quietly buying up the island, in the hope that Skender might one day become a Mediterranean equivalent of Diego Garcia, thereby making them a fortune. Read more

ONE MORE YEAR

By Sana Krasikov

Portobello Books, June 2009, £10.99

Anyone who expects a short story to be an impressionistic wash, a glimpsed moment that requires less than full concentration, should know that the eight stories in Sana Krasikov’s debut collection permit the reader no such idleness. On the contrary, One More Year demands commitment. Its narratives are intricately woven, populated by idiosyncratic characters, of whom many — the boyfriend’s mother, for instance, who lectures on the psychology of endurance after surviving a plane crash — are merely mentioned in passing. Each tale is alive with the minutiae of a fully-realised world and in each the author has amassed enough material to create at least one novel.
Like most of her characters, Krasikov is an émigré from Eastern Europe. Born in the Ukraine, she grew up in the former Soviet Republic of Georgia and moved to the United States when she was eight years old. In this acclaimed collection, for which she was awarded the 2009 Sami Rohr Prize for Jewish Literature, she describes the immigrant experience from eight different angles, in unsentimental prose laced with bruised compassion. Her characters, whether striving to assimilate in the States or reacclimatise themselves to Russia, are adrift in equally inhospitable lands: ‘an entire world transposed, like an ink blot on a folded map, from one continent to another.’ Read more

Marti Friedlander

By Leonard Bell

Auckland University Press, October 2009, £34.50

‘A very good portrait is a paradox,’ says Leonard Bell, professor of Art History at Auckland University. He considers how revelation and mystery co-exist in the work of Marti Friedlander, and her motivation for each of the 185 photographs included in this handsome book, many now being published for the first time.
The daughter of Russian Jewish immigrants, Marti was born in 1928 in London’s East End. Aged three, Marti and her sister Anne were put into an orphanage in Bethnal Green run by the London County Council. In 1933 she moved to the Jewish Orphanage in Norwood. You need to know this about Marti’s early life because it informs so much of her photography. Deeply steeped in Jewish sensibilities, yet always an outsider. Read more

Fiction as History (as Fiction)

In an article in the Times, Anthony Beevor calls The Kindly Ones ‘a great work of literary fiction, to which readers and scholars will turn for decades to come’. The review is eminently quotable, of course, but alert readers will have to ask: Really? Scholars?
Told from a point of view both sensationalist and horrifying — that of an SS officer who is an accomplice to all the worst excesses of the war — The Kindly Ones is nevertheless a well-written book. It offers a high style that could easily be a pastiche of Thomas Mann, but goes further than Mann ever did in examining individual guilt in the communal crime of war by describing with chilling meticulousness the criminal acts themselves. Dozens, if not hundreds, of deaths, many gruesome, are given individual attention. The tone is even, the pace stately and measured, the details stomach-turning. From the Commissar Order and the siege of Stalingrad to the Final Solution, tens of pages at a time are dedicated to reproducing conversations in which seemingly intelligent men argue the tertiary particulars of mass murder and enact the most sordid crimes. The writing is in the best taste, it could be argued, and the content the worst.
Some reviewers have argued that because of the book’s opening (‘Oh, my human brothers’), this is a story about how any one could become a Nazi, but the book’s narrator, Maximilian Aue, is a monster, and has been one since long before the war. Forever scarred by the disappearance of his father and his childhood incest with his twin, he begins a make-believe relationship with his sister in which he eats her excrement and has sex with her in a torture chamber. When he is not inhabiting this fantasy, he is an unrepentant murderer who kills not just Jews and other ‘enemies of the Reich’, but both his mother and his best friend for no apparent reason — hardly an everyman. Read more

City of David

The appropriateness of Messianic hopes in an era pronounced as violent and bleak can seem to touch the nadir of madness or near the course to insanity. Nevertheless, it is precisely at these times that the appeal to the Messianic seems more intense, real and credible.
Michael Heller in his new collection of poetry, Eschaton writes: ‘Impossible for me to write of other topics, mathematics and language or / mathematics and Zion’ (Letter and Dream of Walter Benjamin). He takes heart in a new hope of ‘after-selves’ or the co-ordinate — ‘reliev[ing,] the self-awareness of non-self’ — which he alludes to in A Terror of Tonality.
Throughout a collection which immerses itself  in the devastation of September 11th and in the ruined landscapes of Sarajevo and Somalia — to name just a few of the massacre sites included — the word that occasions mention most frequently is ‘surcease’, a word that suggests overarching disaster but that also foreshadows some relief.
The Age of The Poet considers both the decline of the poet but also of the age in which he breeds. There sounds one possible note of relief: ‘but for surcease, for stillness / for not thinking.’ ‘Not thinking,’ can mean two things in Heller’s symbology: the relief from ‘garrulousness’ (Finding the Mode), and the reliable possibility of metaphysical end-points — ‘Wasn’t this how looking out was to become looking in, one’s ghosts no / longer blocking reflection?’(In the Studio).
What bespeaks the heartfelt nature of this collection is only apparent in its deliberate organisation. By placing the most epiphanic material  in the first two sections of  the book, the effect is one of high to low tension rather than ascending arc. The descent into the nether-reaches of sepulchral thanatos and eschaton are tinged still in this framework with embraces and remembrances of those ‘small ceremonies of life,’ left behind; ultimately I think affirming life and the will to live, while facing harbingers of death. In the midst of devastation, Heller exhorts an unorthodox vision; of life the way it would be after the facts of history, of a rejoining spirit of play after death and catastrophes: Read more

The Novel of Nonel and Vovel

When Nonel and Vovel made work about the Middle East in 2000 they were asked: who are your audiences? When they make work about the Middle East in 2009 the common question is: do you do it because it is trendy?

The first thought crossing one’s mind after putting down The Novel of Nonel and Vovel (following an exhilarated sigh of disappointment that the roller coaster ride is over) is indeed a morosely existential one: who is going to read this book? Who is going to be inspired by it for action that makes a difference in solving the Israeli-Palestinian conflict?
The above quote appears in the ‘art & politics’ chapter of this inter-disciplinary multi-tasking, workaholic, split-personality-disorder-diagnosed Middle-East-conflict-in-space graphic novel in which every chapter is illustrated by a different artist, bracketed by questionnaires, essays, photographs, games and even a crossword puzzle. The climactic chapter is the only one written by someone other than the two artists behind this project, Oreet Ashery and Larissa Sansour. But when their superhero alter-egos Nonel and Vovel are getting ready to save the day and solve the conflict that transcends our planet’s borders (no spoilers!) the storyline is interrupted by a conversation between Ashery and Sansour in cameo appearance, illustrated into the sci-fi sequence sitting on a bench in London’s South Bank, discussing the problem of handing over the most dramatic chapter to a guest writer (Soren Lind).   Read more

Reappraisals: Reflections on the Forgotten Twentieth Century

By Tony Judt

Heinemann, 2008, £20

In the early 1990s Tony Judt was in his mid-40s, a fairly obscure British historian, specialising in modern French history. Three things happened to make him one of the best-known historians of his generation. First, in 1995, he became Director of the Remarque Institute at New York University, just at the time when historians in New York were redefining  the way we think about modern Europe. Then, in 2005 he published Postwar, the masterpiece of the new European history, a monumental 900-page, acclaimed account of Europe since 1945. Finally, at around the same time as Postwar, he wrote a number of controversial articles attacking Israel and Bush’s war on terror. He had become one of the best-known public intellectuals in America.

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The Talmud

Ed. Rabbi Norman Solomon

Penguin, 2009, £16.99

Talmud is essentially an activity, not a book; you engage in it, rather than read it as you would a piece of literature.

Thus Normon Solomon introduces the challenge of how to reduce this epic work, how to capture the intricacies and richness of the Babylonian Talmud that shaped rabbinic Judaism and remains today a core element into a one-volume anthology. The Talmud consists of law and lore, literature and theology, humour and intellectual debate. It contains discussions of historical figures, commerce, Temple offerings, torts, holiday observances, family relationships, agriculture and capital punishments, to name but a fraction of the subjects covered within its 63 volumes. The task of selecting representative sections which reflect the diversity of the entire work is mammoth.

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Illuminations

By Eva Hoffman

Harvill Secker 2008, £16.99

Reading Eva Hoffman’s new novel is a mixed experience. At first, I found the rarefied and brittle consciousness of the protagonist, Isabel Merton, hard to engage with. Her life as an internationally famous concert pianist seems both admirable and enviable, yet she is dissatisfied. However, Isabel herself experiences unease at what she thinks of as her ‘hard’ but also ‘de luxe late capitalist life’ as a concert pianist. We read of a European tour she undertakes, travelling between Sofia and Prague, Vienna and London and the cities blur into an indistinguishable round of concert halls and hotels. What stands out for Isabel is a meeting with Anzor Islikhanov, an exiled representative of the Chechen government, and a man driven by energies at odds with her distanced and orderly life. Each recognizes in the other a capacity for passion and commitment: in Anzor’s case, to vengeful patriotism, in Isabel’s, to the power of music. They embark on an affair that seems unlikely; like her namesake Isabel Archer, in Henry James’s The Portrait of a Lady, Isabel Merton is a young American confronted by European wiles — but this time of a profoundly historical nature.

Jews and Shoes

By Edna Nashon

Berg Publishers, 2008, £17.99

The startling image on the cover of this book is a work by the Israeli artist Nechama Golan. It is a high-heeled sandal made of paper, ink and glue. The shoe is printed with a rabbinic text which explains how a woman is acquired, bringing together a number of ideas discussed in this book. In her introduction Nahshon alludes to the ‘special niche in the Jewish closet of memories’ occupied by shoes and their makers. Her book includes research ranging from commentary on shoes in the Bible, to Jewish art, drama and films featuring shoes, via the cobblers of the shtetl and the figure of the Wandering Jew.

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The Glass Room

By Simon Mawer

Little, Brown, 2009, £ 16.99

‘Light and space…that is everything you need’. So declares a visitor to the spectacular Landauer House, the architectural apotheosis of modernity erected in the days before the black nightmare of World War II. There would be something almost too neat about this perfect construction, this paean to rationality and progress, emerging just at the point the forces of barbarism are about to descend on Europe, were it not of course essentially true. (The story of the Landauer House, the Glass Room, is based in large part upon the modernist Villa Tugendhat in Brno.) The bright dawn of innovation, of creativity and expectation, slips into twilight even as the Glass Room’s final fittings are being made, without ever seeing the expected day of its promise fulfilled. It is an anachronism almost from the moment of its completion.

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Jews and Sex

By Nathan Abrams

Five Leaves, 2008, £12.99

In the mid-1990s I worked as a research assistant for Jewish Continuity, the short-lived organisation that sought to ensure the continuity of Judaism in this country. One of its major concerns was preventing intermarriage and, in order to do so, great pains were taken to research the lives of British Jewish single young adults. Notwithstanding the naivety and crudity of some aspects of Jewish Continuity’s ‘anti-intermarriage’ agenda, a detailed picture emerged that contributed to the understanding of British Jewry. But I couldn’t help feeling then, as now, that something was missing — we didn’t investigate what young Jews thought about the prospect and the reality of sex with other Jews. Was intermarriage partially a result of young Jews finding other Jews a sexual turn-off? Are non-Jews more sexually alluring to Jews (and visa versa)? What, in short, is the ‘sexual economy’ of British Jewish life?

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Laish

By Aharon Appelfeld

Schocken Books, 2009, $23.95

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Dictation

By Cynthia Ozick

Houghton Mifflin, 2008, $24

I confess to having a thing for the fiction of four of my older Bronx contemporaries. For class acts, E. L. Doctorow, Don DeLillo, Grace Paley and Cynthia Ozick are a match for any literary backfield Boston, San Francisco, or other cultural capitals might field. In individualised manners, the first three are all realists whose imaginative work is significantly coloured by social or political concerns. Ozick, on the other hand, a keen observer of wounded conscience and blindsided consciousness, is more cerebral than the others as well as less absorbed in the ebb and flow of history.

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