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A New Work of Fiction Suggests Living Forever Isn’t Everything It’s Cracked Up to Be

Jan. 31 2018

Dara Horn’s novel Eternal Life traces the aftermath of a supernatural deal between two 1st-century lovers—Rachel and Elazar—who, to save the life of their ailing child, strike an agreement that requires them to live forever. By the 21st century, the two have married others, had innumerable children, and watched spouses and offspring die countless times. Reviewing the book, B.D. McClay writes about the tension that informs the narrative:

Hannah, Rachel’s granddaughter by her most recent marriage, announces that she’s on a team of scientists trying to figure out how to help people live forever, a project that fills Rachel, initially, with horror. But if Hannah can isolate the causes of aging and death, Rachel reasons, can’t she also help people to die? And if Rachel can safely let Hannah in on her secret, might she be able to explain why it’s good that people die?

This is a little too much for a fairly slender novel to juggle, and Eternal Life doesn’t quite have the magic of Dara Horn’s previous books. . . . Despite its flaws, [however,] Eternal Life is frequently moving, especially in its early chapters as Rachel remembers her long life, the sorrows that cut deeply even after centuries. “What reasons,” she wonders, “are there for being alive?”

It’s not an easy question to answer. . . . In a sense, Dara Horn’s other novels [like The World to Come and A Guide for the Perplexed] do a better job of answering [it]. Perhaps death isn’t real, and neither is life as we know it; perhaps we are surrounded and sustained by eternity, and by love, and incorporated into a complex and beautiful story that we could never ourselves anticipate, playing roles we’ll never really understand. Perhaps we can only feel that eternity when we know we’ll have to leave the stage. But we don’t, at least in Horn’s books, leave the stage for nothing. We leave it for reality, for more life. At the risk of sounding circular, the meaning of life isn’t, indeed can’t be, death; it’s life.

Read more at Weekly Standard

More about: Arts & Culture, Dara Horn, Jewish literature, Mortality

 

The Summary: 10/7/20

Two extraordinary events demonstrate something important about Israel’s most fervent adversaries. One was a speech given at something called The People’s Forum (funded generously by Goldman Sachs), which stated, “When the state of Israel is finally destroyed and erased from history, that will be the single most important blow we can give to destroying capitalism and imperialism.”

The suggestion that this tiny state is the linchpin of a global, centuries-old phenomenon like capitalism goes well beyond anything resembling rational criticism. Even if Israel were guilty of genocide, apartheid, and oppression—which of course it is not—it would not follow that its destruction would help end capitalism or imperialism.

The other was an anti-Israel protest that took place in front of New York City’s Memorial Sloan Kettering Cancer Center, deemed “complicit” in Israel’s evils. At organizers’ urging, participants shouted their slogans at kids in the cancer ward, who were watching from the windows. Given Hamas’s indifference toward the lives of Gazan children, such callousness toward non-Palestinian children from Hamas’s Western allies shouldn’t be surprising. The protest—like the abovementioned speech—deliberately conveyed the message that Israel is the ultimate evil and its destruction the ultimate good, cancer patients be damned.

The fact that Israel’s adversaries are almost comically perverse does not mean that they can be dismissed. If its allies fail to understand the obsessive and irrational hatred that it faces, they cannot effectively help it defend itself.

Read more at Mosaic