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Two Recent Novels about Undying Jewish Women Make Distinctive Statements about Human Purpose

March 11 2019

The protagonist of Dara Horn’s Eternal Life is a Second Temple-era Jewish woman cursed with eternal life. Similarly, the protagonist of Sarah Perry’s Melmoth is a Jewish woman from the same time but, in her case, fated to wander the earth for eternity as punishment for witnessing Jesus’ resurrection and then denying she did so. Michael Weingrad notes a singular difference in how the two books address their shared central question of “why go on?”

Horn [considers]—and this is what makes her tale so distinctive—not the value of an individual life but the determination to be fruitful and multiply, to continue the Jewish story through our children and our children’s children. Horn shows that the will to enlarge a family is the deepest expression of faith not only in the divine but in the human, too. As contemporary demography suggests, when that faith weakens, birthrates fall. Human concern retreats to the shape and duration of the individual’s life. The import of Horn’s book for our moment, then, is not [her protagonist] Rachel’s longevity but her natality. . . .

[By contrast], Perry’s wraith-like wanderer is an eternal witness to human cruelty with none of the consolations of religious belief. The subjects of her visitations are bystanders, and sometimes worse, to the Holocaust, the Armenian genocide, Christian religious persecution, violent misogyny, the deportation of illegal immigrants, and the criminalization of euthanasia. Call it progressive gothic.

Like Horn’s novel, Perry’s asks: why go on? But here the question means, why go on when humanity is so ugly? Why go on when each of us is so implicated in the injustices of the world? . . .

I couldn’t help being struck by the fact that not one of the half-dozen or so characters visited by Perry’s [protagonist] has children. Some are married, some elderly, but none, it seems, is a parent. Perry’s novel seems to warn of the despair that accrues from witnessing the world without a vantage point larger than the self. Horn’s is about a certain hopeful yearning for the world, a hope that in some sense is our children.

Read more at Jewish Review of Books

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

 

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