Other Things Being Equal
For Jewish Ideas Daily, a new aggregator of Jewish things from around the web, I will be surveying the history of American Jewish fiction, one book at a time, from the last decade of the nineteenth century to the present.
The series gets going this morning with my review of Other Things Being Equal, a romance of intermarriage by Emma Wolf. Published in 1892 not by a Jewish house but by a mainstream trade publisher—A. C. McClurg of Chicago—Wolf’s was the the first novel written by an American Jew on a Jewish subject that was intended for an interreligious audience.
Wolf’s theme is that, since Jews and Christians “all dance and talk alike,” since they receive “the same schooling, speak the same language, read the same books, are surrounded by the same elements of home refinement,” there is no meaningful difference between them that prevents love and intermarriage.
What will probably strike contemporary readers the hardest is Wolf’s hostility toward traditional Jewish views on intermarriage. The editor of American Jewess, a magazine which described itself as the only one in the world “devoted to the interests of Jewish women,” clearly understood this as her novel’s claim to originality:
Other titles to be reviewed in the series will be selected from this complete-as-I-can-make-it list of American Jewish fiction from 1892 to 1948.
8 comments:
I look forward to your series. Will you also be writing about Singer and Malamud?
What about Delmore Schwartz:
In Dreams Begin Responsibilities (1938)
World Is a Wedding (1948)
I admire Schwartz, but with very few exceptions, the list above contains no collections of short stories, a form that I dislike.
Pity. Jews write great short fiction.
That gives you yourself something to write about, Anonymous.
I suppose it's a law of the internet that when such a list is posted, comments inevitably arrive questioning the omission of, what seems to the commentator at least, a noteworthy author.
Allow me then to ask a question. What of Asch and Singer? I can, off the top of my head, supply possible explanations: for Asch - either literary merit or sometimes non-Jewish subject matter; for Singer - perhaps he's not considered "American" enough because he didn't write in English and his subject matter seemed too foreign.
These explanations are, of course, off the top of my head. Another, and perhaps more probable explanation lies in the fact that lists must have an end to be meaningful. Maybe Singer and Asch, while good authors, simply aren't as noteworthy as those included. I don't know. I've only read the Bellow and the Roth.
Regards,
American Jewish fiction in the “jumpy beat” of English.
I must have missed that. Sorry.
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