When Jack Miles approached me with the proposition to edit the Judaism volume of the projected Norton Anthology of World Religions, I was naturally flattered but also confounded. There are, of course, many anthologies of Judaism in different formats. But the Norton anthologies are different.
Queen of Thieves: The True Story of “Marm” Mandelbaum and Her Gangs of New York by J. North Conway / Skyhorse Publishing / 2014, pp. 240, $24.95
Babel in Zion:Jews, Nationalism, and Language Diversity in Palestine, 1920–1948 by Liora R. Halperin / Yale University Press / 2014, pp. 328, $40
Full disclosure: I am not a biblical or Talmudic scholar. As a professor of literature, I have taught selections from the Bible in humanities courses. I think of myself as a secular humanist and an agnostic interested in understanding the role of religion in the lives of millions of people.
French anti-Semitism, c’est une vieille histoire. True, following the Revolution, les Juifs were liberated from their ghettos. True, the Jewish Leon Blum was elected prime minister of France during the late 1930s. And true, except for the United States and Israel, no other country contains so many Jews—some 600,000 according to the latest statistics.
Be wary of historical fiction, especially if it’s good. It will forever mix up in your mind what actually happened, or what we can be fairly certain happened, with the inventions of playwrights and novelists, whose aim might be to draw a deeper meaning from events than mere facts can provide, but who do some violence to those puny facts.
This thriller about the Israeli-Arab conflict comes with rare praise from one of the masters of suspense fiction and with a premise that suggests exploration of deep moral dilemmas. The endorsement comes from Stephen King, who says the book is “about the lies we tell ourselves until the truth is forced upon us,” and is “what great fiction is all about.”
Creating art from the events of the Holocaust remains as daunting as ever. Soon, those awful events will move beyond the reach of living memory while the need for testimony grows more pressing, not less. But the responsibilities of art are different from those of history: Theodor Adorno’s much-misrepresented dictum that “it is barbaric to write poetry after Auschwitz” can simply be used as a lazy shorthand for refusing to engage with difficult and challenging creations.
At the very beginning of his probing, disturbing account of the Nazis’ destruction of Dutch Jewry, Bernard Wasserstein asks what is no doubt the most terrible question that can be posed about Jewish behavior during the Holocaust: “Confronting the absolute evil of Nazism, was there any middle road between outright resistance and abject submission?”
