Jews From The United States

"Beginning a book is unpleasant. I'm entirely uncertain about the character and the predicament, and a character in his predicament is what I have to begin with. Worse than not knowing your subject is not knowing how to treat it, because that's finally everything. I type out beginnings and they're awful, more of an unconscious parody of my previous book than the breakaway from it that I want. I need something driving down the center of a book, a magnet to draw everything to it — that's what I look for during the first months of writing something new. I often have to write a hundred pages or more before there's a paragraph that's alive. Okay, I say to myself, that's your beginning, start there; that's the first paragraph of the book. I'll go over the first six months of work and underline in red a paragraph, a sentence, sometimes no more than a phrase, that has some life in it, and then I'll type all these out on one page. Usually it doesn't come to more than one page, but if I'm lucky, that's the start of page one. I look for the liveliness to set the tone. After the awful beginning come the months of freewheeling play, and after the play come the crises, turning against your material and hating the book."

"All I can tell you with certainty is that I, for one, have no self, and that I am unwilling or unable to perpetrate upon myself the joke of a self .... What I have instead is a variety of impersonations I can do, and not only of myself — a troupe of players that I have internalised, a permanent company of actors that I can call upon when a self is required .... I am a theater and nothing more than a theater."

"Is an intelligent human being likely to be much more than a large-scale manufacturer of misunderstanding?"

"England’s made a Jew of me in only eight weeks, which, on reflection, might be the least painful method. A Jew without Jews, without Judaism, without Zionism, without Jewishness, without a temple or an army or even a pistol, a Jew clearly without a home, just the object itself, like a glass or an apple."

"Circumcision is startling, all right, particularly when performed by a garlicked old man upon the glory of a newborn body, but then maybe that’s what the Jews had in mind and what makes the act seem quintessentially Jewish and the mark of their reality. Circumcision makes it clear as can be that you are here and not there, that you are out and not in — also that you’re mine and not theirs.... Quite convincingly, circumcision gives the lie to the womb-dream of life in the beautiful state of innocent prehistory, the appealing idyll of living "naturally," unencumbered by man-made ritual. To be born is to lose all that. The heavy hand of human values falls upon you right at the start, marking your genitals as its own."

"I can lie about my name, I can lie about my school, but how am I going to lie about this fucking nose? "You seem like a very nice person Mr. Porte-Noir, but why do you go around covering the middle of your face like that?" Because suddenly it has taken off, the middle of my face! Because gone is the button of my childhood years, that pretty little thing that people used to look at in my carriage, and lo and behold, the middle of my face has begun to reach out towards God. Porte-Noir and Parsons my ass, kid, you have got J-E-W written right across the middle of your face."

"Dreams? If only they had been! But I don't need dreams, Doctor, that's why I hardly have them — because I have this life instead. With me it all happens in broad daylight!"

"American society [...] not only sanctions gross and unfair relations among men, but it encourages them. Now, can that be denied? No. Rivalry, competition, envy, jealousy, all that is malignant in human character is nourished by the system. Possession, money, property — on such corrupt standards as these do you people measure happiness and success."

"I am marked like a road map from head to toe with my repressions. You can travel the length and breadth of my body over superhighways of shame and inhibition and fear."

"...and then this amazing creature — to whom no one has ever said "Shah!" or "I only hope your children will do the same to you someday!""

"I'm not trying to turn you into a bourgeois, Naomi. If the bed is too luxurious, we can do it on the floor."

"I am thirteen. At long last, not a cored apple. Not an empty milk bottle greased with vaseline, but a girl in a slip, with two tits and a cunt — and a mustache, but who am I to be picky."

"Only in America, Rabbi Golden, do these peasants, our mothers, get their hair dyed platinum at the age of sixty, and walk up and down Collins Avenue in Florida in pedalpushers and mink stoles — and with opinions on every subject under the sun. It isn’t their fault they were given a gift like speech — look, if cows could talk, they would say things just as idiotic."

"My God! The English language is a form of communication! Conversation isn’t just crossfire where you shoot and get shot at! Where you’ve got to duck for your life and aim to kill! Words aren’t only bombs and bullets — no, they’re little gifts, containing meanings!"

"It’s a family joke that when I was a tiny child I turned from the window out of which I was watching a snowstorm, and hopefully asked, "Momma, do we believe in winter?""

"A Jewish man with parents alive is a fifteen-year-old boy, and will remain a fifteen-year-old boy till they die."

"The chances are that there will always be some people who will despise Jews, just so long as they continue to call themselves Jews; and, of course, we must keep an eye on them. But if some Jews are dreaming of a time when they will be accepted by Christians as Christians accept one another — if this is why certain Jewish writers should be silent — it may be that they are dreaming of a time that cannot be, and of a condition that does not exist, this side of one’s dreams. Perhaps even the Christians don’t accept one another as they are imagined to in that world from which Jews may believe themselves excluded solely because they are Jews."

"All the tolerance of persecution that has seeped into the Jewish character — the adaptability, the patience, the resignation, the silence, the self-denial — must be squeezed out, until the only response there is to any restriction of liberties is "No, I refuse.""

"The concerns of fiction, let it be said, are not those of a statistician — or of a public-relations firm. The novelist asks himself, "What do people think?"; the PR man asks, "What will people think?""

"Literary works do not take as their subjects characters and events which have impressed a writer primarily by the frequency of their appearance. For example, how many Jewish men, as we know them, have come nearly to the brink of plunging a knife into their only son because they believed God had commanded them to? The story of Abraham and Isaac derives its meaning from something other than its being a familiar, recognizable, everyday occurrence. The test of any literary work is not how broad is its range of representation — for all that breadth may be characteristic of a kind of narrative — but the depth with which the writer reveals whatever it may be that he has chosen to represent."

"I do not write a story to make evident whatever disapproval I may feel for adulterous men. I write a story of a man who is adulterous to reveal the condition of such a man. If the adulterous man is a Jew, then I am revealing the condition of an adulterous man who is a Jew. Why tell that story? Because I seem to be interested in how — and why and when — a man acts counter to what he considers to be his "best self," or what others assume it to be, or would like for it to be. The subject is hardly "mine"; it interested readers and writers for a long time before it became my turn to be engaged by it, too."

"Ever Since some of my first stories were published in 1959 in a volume called Goodbye, Columbus, my work has been attacked from certain pulpits and in certain periodicals as dangerous, dishonest, and irresponsible. I have read editorials and articles in Jewish community newspapers condemning these stories for ignoring the accomplishments of Jewish life, or, as Rabbi Emanuel Rackman recently told a convention of the Rabbinical Council of America, for creating a "distorted image of the basic values of Orthodox Judaism," and even, he went on, for denying the non-Jewish world the opportunity of appreciating "the overwhelming contributions which Orthodox Jews are making in every avenue of modern endeavor …""

"Life was a throwing off for poor aunt Gladys, her greatest joys were taking out the garbage, emptying the pantry, and making threadbare bundles for what she still refers to as the poor Jews of Palestine."

"We came back to the chairs now and then and sang hesitant, clever, nervous, gentle dithyrambs about how we were beginning to feel towards one another. Actually we did not have the feelings we said we had until we spoke them — at least I didn't; to phrase them was to invent them and own them. We whipped our strangeness and newness into a froth that resembled love, and we dared not play too long with it, talk too much of it, or it would flatten and fizzle away. So we moved back and forth from chairs to water, from talk to silence, and considering my unshakable edginess with Brenda, and the high walls of ego that rose, buttresses and all, between her and her knowledge of herself, we managed pretty well."

"[H]er breasts swam towards me like two pink-nosed fish and she let me hold them."

"Oh Patimkin! Fruit grew in their refrigerator and sporting goods dropped from their trees!"

"No one I know of has foreseen an America like the one we live in today. No one (except perhaps the acidic H. L. Mencken, who famously described American democracy as "the worship of jackals by jackasses") could have imagined that the 21st-century catastrophe to befall the U.S.A., the most debasing of disasters, would appear not, say, in the terrifying guise of an Orwellian Big Brother but in the ominously ridiculous commedia dell’arte figure of the boastful buffoon. How naïve I was in 1960 to think that I was an American living in preposterous times! How quaint! But then what could I know in 1960 of 1963 or 1968 or 1974 or 2001 or 2016? … However prescient The Plot Against America might seem to you, there is surely one enormous difference between the political circumstances I invent there for the U.S. in 1940 and the political calamity that dismays us so today. It’s the difference in stature between a President Lindbergh and a President Trump. Charles Lindbergh, in life as in my novel, may have been a genuine racist and an anti-Semite and a white supremacist sympathetic to Fascism, but he was also — because of the extraordinary feat of his solo trans-Atlantic flight at the age of 25 — an authentic American hero 13 years before I have him winning the presidency. … Trump, by comparison, is a massive fraud, the evil sum of his deficiencies, devoid of everything but the hollow ideology of a megalomaniac."

"I found much that was alarming about being a citizen during the tenures of Richard Nixon and George W. Bush. But, whatever I may have seen as their limitations of character or intellect, neither was anything like as humanly impoverished as Trump is: ignorant of government, of history, of science, of philosophy, of art, incapable of expressing or recognizing subtlety or nuance, destitute of all decency, and wielding a vocabulary of seventy-seven words that is better called Jerkish than English."

"When the whole world doesn't believe in God, it will be a great place."

"I'm exactly the opposite of religious, I'm anti-religious. I find religious people hideous. I hate the religious lies. It's all a big lie. … I have such a huge dislike. It's not a neurotic thing, but the miserable record of religion. I don't even want to talk about it, it's not interesting to talk about the sheep referred to as believers. When I write, I'm alone. It's filled with fear and loneliness and anxiety — and I never needed religion to save me."

"I cannot and do not live in the world of discretion, not as a writer, anyway. I would prefer to, I assure you — it would make life easier. But discretion is, unfortunately, not for novelists."

"I write fiction and I’m told it’s autobiography, I write autobiography and I’m told it’s fiction, so since I’m so dim and they’re so smart, let them decide what it is or it isn’t."

"This indictment is a kind of fever that flares up from time to time. It flared up after "Defender of the Faith," again after "Goodbye Columbus," and understandably it went way up — to about 107 — after "Portnoy's Complaint." Now there's just a low-grade fever running, nothing to worry about."

"To become a celebrity is to become a brand name. There is Ivory Soap, Rice Krispies, and Philip Roth. Ivory is the soap that floats; Rice Krispies the breakfast cereal that goes snap-crackle-pop; Philip Roth the Jew who masturbates with a piece of liver."

"When you publish a book, it’s the world’s book. The world edits it."

"The road to hell is paved with works-in-progress."

"The cities of Italy are now deluged with droves of these creatures [tour groups], for they never separate, and you see them, forty in number, pouring along a street with their director — now in front, now at the rear, circling them like a sheep dog — and really the process is as like herding as may be."

"The American settlers came to take and shape the land. The first occupants of the land — the "Indians" whom the European migrants encountered — would not be treated, in the pattern of the Romans, as people to be incorporated into an empire. Instead, they were treated as part of the landscape. Most of them were simply cleared away, like the forest, or pushed back, like the wilderness."

"The Republic of Technology where we will be living is a feedback world."

"Of all nations in the world, the United States was built in nobody's image. It was the land of the unexpected, of unbounded hope, of ideals, of quest for an unknown perfection. It is all the more unfitting that we should offer ourselves in images. And all the more fitting that the images which we make wittingly or unwittingly to sell America to the world should come back to haunt and curse us."

"A sign of a celebrity is often that his name is worth more than his services."

"By a diabolical irony the very facsimiles of the world which we make on purpose to bring it within our grasp, to make it less elusive, have transported us into a new world of blurs."

"The image, more interesting than its original, has become the original. The shadow has become the substance."

"A celebrity is a person who is known for his well-knownness."

"Celebrity-worship and hero-worship should not be confused. Yet we confuse them every day, and by doing so we come dangerously close to depriving ourselves of all real models. We lose sight of the men and women who do not simply seem great because they are famous but are famous because they are great. We come closer and closer to degrading all fame into notoriety."

"Pseudo‑events do, of course, increase our illusion of grasp on the world, what some have called the American illusion of omnipotence. Perhaps, we come to think, the world’s problems can really be settled by “statements,” by “Summit” meetings, by a competition of “prestige,” by overshadowing images, and by political quiz shows."

"In the age of pseudo‑events it is less the artificial sim­plification than the artificial complication of experience that confuses us. Whenever in the public mind a pseudo‑event competes for attention with a spontaneous event in the same field, the pseudo‑event will tend to dominate. What happens on television will overshadow what happens off television."

"The American citizen thus lives in a world where fantasy is more real than reality, where the image has more dignity than its original. We hardly dare face our bewilderment, because our ambiguous experience is so pleasantly iridescent, and the solace of belief in contrived reality is so thoroughly real. We have become eager accessories to the great hoaxes of the age. These are the hoaxes we play on ourselves."

"These pseudo‑events which flood our consciousness must be distinguished from propaganda. The two do have some characteristics in common. But our peculiar problems come from the fact that pseudo‑events are in some respects the op­posite of the propaganda which rules totalitarian countries. Propaganda — as prescribed, say, by Hitler in Mein Kampf — is information intentionally biased. Its effect depends pri­marily on its emotional appeal. While a pseudo‑event is an ambiguous truth, propaganda is an appealing falsehood. Pseudo‑events thrive on our honest desire to be informed, to have “all the facts,” and even to have more facts than there really are."

"Pseudo‑events spawn other pseudo‑events in geometric progression. This is partly because every kind of pseudo­-event (being planned) tends to become ritualized, with a protocol and a rigidity all its own. As each type of pseudo-­event acquires this rigidity, pressures arise to produce other, derivative, forms of pseudo‑event which are more fluid, more tantalizing, and more interestingly ambiguous."