May 31, 2007
The Imaginary Jew and the Unimagined Jew
Michael Chabon's new novel The Yiddish Policemen's Union, which takes place in a fictionalized present in which the State of Israel never was, the Jews instead living in a giant ghetto in Alaska, has sparked some interesting commentary regarding the contemporary Jewish experience. In an article in The Nation entitled The Imaginary Jew, William Deresiewicz writes:
But over the past three decades, the dense particularity of American Jewish life has, outside the Orthodox community, largely disappeared. No one speaks Yiddish anymore, or even English that sounds like Yiddish. There may be suburbs with a lot of Jews, but there are no Jewish suburbs as there were once Jewish neighborhoods. With Jews as senators and governors and Ivy League presidents, the wounding, binding sense of exclusion has melted away. Communal institutions remain strong, traditions are still cherished, but American Jewish experience is now, by and large, simply American experience. Jewish mothers don't say "Ess, ess" anymore; they say, "Do you want me to call Sophia's mom to make a playdate?"While there are young Jewish writers aplenty, no important voice has emerged to speak about contemporary Jewish life. Jonathan Lethem's The Fortress of Solitude, perhaps the finest recent novel by a young Jewish writer, is not about being Jewish at all; it's about the quintessentially American subject of race. But there have always been Jewish writers who have chosen to speak about things other than being Jewish (most notably, in the Bellow-Roth generation, Norman Mailer and J.D. Salinger). What's really telling about the current state of Jewish fiction is that even those prominent young writers who do speak about Jewish experience don't speak about contemporary experience.
It's true; "Jewish" fiction is either about the past (mostly the Holocaust), or the early struggles of Jews in America. There is hardly anything in the contemporary Jewish experience, outside the Orthodox world, that can be called uniquely Jewish.
On the flip side, there remains little to no work within the Jewish community that attempts to understand and reflect on the contemporary Orthodox Jewish experience in America (there likely is some such stuff in Israel, but I'm not familiar with it). There's a lot to be said on this, both on the fact that this kind of literature is not seen as valuable by the community leaders, and the fact that it's not really sought after by the general public.
Hearing all this talk of the new Chabon release makes me a little sad…
A year ago, I would have been thrilled and no doubt attended his book signing. He’s been my favorite author since I first read his debut novel THE MYSTERIES OF PITTSBURGH back in the early 90s.
But I can no longer support the work of an author who has no regard for the story and characters that put him on the literary map.
In case you haven’t heard, there’s a film version of MOP coming out later this year… Written and directed by the guy who brought us DODGEBALL, in which he’s CHANGED 85% of Chabon’s original story.
And the sad part is… Michael Chabon himself APPROVED of the script! WHY would he do this? I can only think of one possible answer: $$
If you are a Chabon fan, esp MOP, I suggest you do NOT see this movie. You will be sadly disappointed at the COMPLETE removal of the gay character, Arthur Lecomte, and the fabrication of a romantic love triangle between Art Bechstein, Jane Bellwether, and a bi-sexual Cleveland Arning. And really, what is MOP without the presence of Phlox Lombardi? Alas, she’s barely in it.